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山叁夏庄园酒店与农场之家丨中国大理丨ArCONNECT之间建筑事务所

2026/01/06 18:41:56

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苍山下的农场梦

The Dream of a Farm Beneath Cangshan Mountain

2022年夏天，杭州人AKA来到大理，想在苍山下建一座自己梦想中的农场。AKA是农场和户外生活方式的重度爱好者，喜欢房车和露营，尤其迷恋植物和鲜花。此前俩夫妇在杭州已有两个农场，为什么选择在大理再建一座新农场？原因也再简单不过，鲜花在大理长得好。据AKA说，鲜花在杭州生长得非常可怜，三月底好不容易熬过倒春寒，六月高温高湿一来基本上就全谢了。在大理，鲜花就完全自由了。得利于横断山脉充沛的阳光雨水和适宜的气温，花在大理能从三月一直开到十一月，这对AKA来说是致命的诱惑。在大理，不仅鲜花活得自在，人在户外也待得舒服，夏天雨季最热也就二十多度，冬天大部分时间都可以美美地晒太阳，除了晚冬初春时常狂风大作，大理几乎是国内最适宜常年在户外生活的地方。这也是许多喜欢亲近自然的人热衷于来大理旅居的原因。

In the summer of 2022, AKA, a native of Hangzhou, came to Dali hoping to build her dream farm at the foot of Cangshan Mountain. An avid fan of farming and outdoor lifestyles, she loves RVing and camping, with a particular obsession for plants and flowers. Having already owned two farms in Hangzhou with her husband, why did they choose to build another in Dali? The reason is simply that flowers grow exceptionally well here. According to AKA, flowers struggle to thrive in Hangzhou. After barely surviving the late spring cold at the end of March, they mostly wilt once the high temperature and humidity hit in June. In Dali, however, flowers are completely free to flourish. Benefiting from abundant sunshine, rainfall and moderate temperatures in the Hengduan Mountains, they bloom from March to November—an irresistible allure for AKA. Not only do flowers thrive here, but people also feel comfortable outdoors. During the summer rainy season, the maximum temperature is only around 25°C, and most winter days are perfect for sunbathing. Except for frequent strong winds in late winter and early spring, Dali is almost China’s most ideal place for year-round outdoor living. This is why many nature lovers are eager to settle in Dali temporarily.

▼庄园鸟瞰，Aerial View of the Manor©朱雨蒙

AKA相中的场地是无为寺下方、庆安里村外一片独立的老农庄。她最初的设想是在老农庄建设用地上造一个“农场之家”，供自己和家人旅居生活，未来和朋友们抱团养老。她同时租下场地南侧一百多亩农田，计划自己种粮食蔬菜，同时把世界各地自己喜欢的鲜花品种都引进过来，打造一个梦想中的农场，再凭借线上销售经验做鲜花直播。

The site AKA settled on is an independent old farmstead below Wuwei Temple and outside Qing’anli Village. Her initial idea was to build a “Farm House” on the construction land of the old farmstead, serving as a sojourn home for herself and her family, and a place to spend their retirement with friends in a communal lifestyle in the future. She also rented over 100 mu of farmland south of the site, planning to grow grain and vegetables herself while introducing all her favorite flower varieties from around the world to create her dream farm. Additionally, she intends to host flower live streams leveraging her online sales experience.

▼建筑群鸟瞰，Aerial View of the Building Complex©朱雨蒙

场地的两种气质和两种尺度

Two Distinct Charms and Scales of the Site

这是一片东西走向狭长的用地，南北进深较小。北侧是苍山十八溪之一的双鸳溪，被密林簇拥，伴着湍湍的溪流声，颇有一些幽幽的山林气息；南侧则面向大片农田豁然开朗，苍山十九峰连绵起伏，尽收眼底，一派“采菊东篱下，悠然见南山”的开阔田园气象。再看场地内，布满各种各样原生的大树，农庄原有的一系列小房子像小聚落般散落其中，半隐在大树之间；三个原生水塘被一股小溪从西往东依次串起来，涓涓细流常年从场地内穿过，颇有《园冶》中郊野地“叠陇乔林，水浚通源”的意境。这个场地兼具“山林”和“田园”两种气质。▼改造前场地大鸟瞰，Overall Aerial View of the Site Before Renovation ©之间建筑

This is a narrow, elongated plot oriented east-west, with a relatively limited north-south depth. To the north lies Shuangyuan Creek, one of the eighteen streams of Cangshan, embraced by dense woodland. The rushing sound of the creek evokes a serene, forested ambiance, imbued with a subtle mountain wilderness charm. To the south, the landscape opens up to expansive farmland, where the undulating peaks of Cangshan stretch in a continuous chain, presenting a breathtaking panorama reminiscent of the idyllic verse, “Gathering chrysanthemums by the eastern fence, leisurely gazing at the southern mountains.”

Within the site, a variety of indigenous trees flourish, and a series of small, original farmhouses are scattered throughout, subtly nestled among the towering foliage, resembling a quaint hamlet. Three natural ponds are interconnected by a gentle stream flowing from west to east, with a perennial trickle of water coursing through the terrain, evoking the pastoral serenity described in Yuan Ye (The Craft of Gardens), with its idyllic scene of “layered terraces, lofty forests, and water channels flowing unceasingly.” This site beautifully embodies the dual qualities of “mountain forest” and “rural farmland,” harmoniously blending both atmospheres into a cohesive landscape.

▼建成后西北角建筑群落鸟瞰，Aerial View of the Building Complex at the Northwest Corner After Completion ©朱雨蒙

第一次去场地相地的体验也令人印象深刻。2022年深秋，驱车前往，经214国道行至双鸳溪路口，右转进溪边小路，国道车水马龙的喧嚣忽然褪去，流水声伴随着溪边绿荫扑面而来，心境随之安静下来。驶入农庄大门，下车后首先跃入眼帘的是水塘和大树。深秋暖阳照在水面上，糅杂着落叶、浮藻、残荷、苇草，在阳光下如莫奈笔下的睡莲般绚烂斑驳。水塘南侧是两排高大的黄杨树，虽然叶子落了大半，走在树下仍感觉被粗壮的树干和繁枝亲密地包裹着。再往里走，树的种类就多了起来，水杨柳、银杏、桉树、柏树，这片老的农庄因疏于打理而略显杂乱，但被各种生机勃勃的植物包裹在其中，又好似一片极具野生生命力的隐秘小天地。▼场地原状-西水塘与大树，Original Site – West Pond and Old Trees ©之间建筑

The initial experience of exploring the site was profoundly memorable. In late autumn of 2022, I drove along National Highway 214 until reaching the intersection at Shuangyuan Creek. Turning right onto the creekside path, the bustling noise of the highway suddenly faded away, replaced by the gentle murmur of flowing water and the lush greenery along the stream. My spirit immediately settled into a tranquil state. Upon entering the farmstead’s gateway and alighting from the vehicle, the first sights that captured my gaze were the ponds and towering trees. The warm autumn sunlight shimmered across the water’s surface, mingling with fallen leaves, floating algae, remnants of lotus, and reed grass, creating a kaleidoscope of colors reminiscent of Monet’s water lilies in a dappled, vibrant display. To the south of the pond, two rows of tall boxwood trees stood, their leaves mostly fallen, yet walking beneath them still conveyed a sense of intimacy, as if protected by the sturdy trunks and dense branches. As I ventured further inward, the variety of trees increased—willows, ginkgoes, eucalypts, and cypresses—each adding to the rich tapestry of flora. The old farmstead, somewhat untended, appeared slightly chaotic yet brimming with vitality, enveloped by a plethora of spirited plants—an enchanting, wild sanctuary alive with nature’s resilient energy.

▼从水塘看1号楼“农场之家”，View of Building 1 “Farm House” from the Pond©朱雨蒙

行至场地中段，在两栋小房子之间，朝南的视野忽然打开，水平展开的苍山伴随着大片农田赫然出现，令人一惊，场地的密林外竟是如此开阔的田园山景！转身行至水塘边，朝西回望，苍山又以另一种克制的姿态出现了，在两侧大树和水塘的映衬下，苍山十九峰中的两三峰被框入一个极具纵深感的山水景观中，不同于场地南侧苍山水平展开的典型“平远”意境，在这里苍山罕见地呈现出如北宋《溪山行旅图》般的“高远”意境。

▼场地原状 - 场地中段南望苍山，Original Site – View of Cangshan from the Site©之间建筑

▼场地原状-从西水塘朝西回望苍山，Original Site – View of Cangshan from the West Pond©之间建筑

As I advanced to the midpoint of the site, a sudden panoramic vista unfurled between two small cottages facing south. The expansive, levelled Cangshan, accompanied by vast fields of farmland, appeared unexpectedly, evoking a sense of astonishment—such openness in the rural mountain landscape beyond the dense woodland! Turning around to the pond’s edge and gazing westward, Cangshan reemerged in a more restrained demeanor. Framed by towering trees and the water’s reflective surface, two or three peaks among the nineteen summits of Cangshan were captured within a profoundly layered mountain-water scene. Unlike the typical “plain and distant” aesthetic of Cangshan’s broad, level plains on the southern side of the site, here the mountains exhibited a rare “lofty and remote” grandeur, reminiscent of the Northern Song Dynasty’s Travelers Among Mountains and Streams, evoking a sense of sublime elevation and profound depth.

▼从小溪望向1号楼“农场之家”，View of Building 1 “Farm House” from the Stream ©朱雨蒙

我们开始意识到这个场地兼有两种自然的尺度。第一种是“近身尺度”，场地内有非常丰富的自然元素，西侧是水塘和林荫道，主建筑区散布着杨树、大青树、柏树、桉树等诸多大树，南侧有一小片核桃林伸入农田，东侧和北侧溪边则是高大的桉树林。第二种是“山水尺度”，这里有海西坝子上典型的水平开阔的田园景观，水平线的尽端是起伏的苍山，有种天地之间的气魄。

We gradually became aware that this site embodies two distinct scales of natural grandeur. The first is the “intimate scale,” characterized by a rich array of natural elements within the grounds: to the west lies a pond and a shaded avenue, while the main building area is dotted with tall trees such as poplars, blue oaks, cypresses, and eucalypts. To the south, a small walnut grove extends into the farmland, and along the eastern and northern creek edges stand towering eucalyptuses. The second scale is the “mountain and water dimension,” featuring the typical expansive, level farmland landscape of the Haixi Basin. At the horizon, undulating Cangshan mountains rise, evoking a majestic sense of between Heaven and Earth—imbuing the scene with grandeur and vastness.

▼西南角建筑群落鸟瞰，Aerial View of the Building Complex at the Southwest Corner©朱雨蒙

大地石墙，借势重塑内外关系

Earthy Stone Walls: Reshaping Internal-External Bonds Through the Site’s Context

主体建筑设计的前置条件是在原有建筑范围内进行改造修复。场地内原有建筑是村民自发建造的一片松散的简易建筑，建造体系以不带圈梁构造柱的红砖承重墙、局部轻钢框架、彩钢瓦屋面为主，基本的抗震安全性和保温隔热都无法满足。更为可惜的是，受限于红砖承重墙的构造限制，这些建筑朝各个方向立面几乎全是匀质的小窗洞，只能满足最低的采光通风需求，如此封闭，竟然不跟场地上如此之多的自然元素发生任何联系，实在可惜。迫于基本的安全需求，把原有老建筑拆后原址重建是最优选择。老建筑没有保留的价值，现场的大树却弥足珍贵。场地朝西南主风向没有任何遮挡，初春风季里AKA在农场移栽的大树成活率很低，这使我们很快形成共识：新建筑要与这些原生大树共生，场地内的大树，无论姿态美丑，都要在新设计中完整保留，哪怕为此让建筑拐个弯、挖个洞或退让三两米。

▼场地内原有建筑，Existing Buildings on the Site ©之间建筑

The preliminary condition for the design of the main structure involves renovating and restoring within the bounds of the original building footprint. The existing structures on the site are a collection of loosely assembled, rudimentary constructions built spontaneously by villagers. These are primarily composed of load-bearing red brick walls without ring beams, supplemented in some areas by lightweight steel frameworks and metal roofing sheets. Unfortunately, these buildings fail to meet basic seismic safety standards or insulation and thermal performance. More regrettably, constrained by the red brick load-bearing construction, the facades are almost entirely composed of uniform small windows in every direction—merely sufficient for minimal lighting and ventilation. This highly enclosed arrangement bears no meaningful connection to the abundant natural elements surrounding the site, which is truly a missed opportunity. Given safety considerations, the optimal approach is to demolish the old structures and reconstruct them on the original site. The value of the old buildings does not warrant preservation, but the mature trees on the site are invaluable treasures. The southwest wind-facing area is completely unshielded, and in early spring, the transplanted trees on the farm have a low survival rate. This quickly led us to a shared understanding: the new constructions must coexist harmoniously with these native trees. All the mature trees within the site—regardless of their aesthetic form—must be preserved in their entirety within the new design, even if it means curving the building around them, carving out openings, or retreating a few meters to accommodate them.

▼“大地石墙”与建筑群落，”Earthy Stone Walls” and the Building Complex©朱雨蒙

设计的起点在于如何重新激活建筑与场地自然之间丰富的互动关系。在建筑平面轮廓不变的前提下，如何打破原有室内外边界、打破建筑与景观边界，把上述场地内外大小尺度、林林总总的自然元素尽可能吸纳入新的建筑空间体验中。塑造新空间关系最重要的骨架是“大地石墙”。大地石墙贯穿建筑与景观，在室内外自由穿梭、高低变化，从建筑尺度自然过渡到人的身体尺度，最后伸入大地。在建筑平面轮廓不变的前提下，大地石墙拓展了人感知建筑空间的边界，营造出不同公共私密层级的院落，重塑了场地内外空间关系。在大地石墙的“空间骨架”之上，坡屋顶和平屋顶根据各自功能需求与室内空间营造，以不同的形态生长出来。▼“大地石墙”与新老建筑空间关系演化示意，

Evolution Diagram of the Spatial Relationship Between the

“Earthy Stone Walls” and New/Existing Buildings©之间建筑

▼“大地石墙”与整体建筑关系示意，

Relationship Diagram of the “Earthy Stone Walls”

and the Overall Building Complex©之间建筑

The starting point of the design lies in how to reawaken the rich interactive relationship between the architecture and the natural landscape. With the building footprint remaining unchanged, the challenge is to transcend the original indoor-outdoor boundaries and the demarcation between the structure and its surroundings, thereby integrating the diverse scales and myriad natural elements within the site into a novel spatial experience. The most vital framework for shaping this new spatial relationship is the “earth stone wall.” This element weaves through both architecture and landscape, allowing seamless movement between interior and exterior, with variations in height that naturally transition from the building’s scale to the human form, ultimately extending into the earth. Under the premise of maintaining the original building outline, the earth stone wall broadens the perceptual boundary of the architectural space, fostering courtyards with varying degrees of public privacy, and reconfiguring the spatial relationship between the interior and exterior of the site. Resting upon this “spatial skeleton,” the pitched and flat roofs are conceived as organic growths, tailored to their respective functional needs and interior spatial configurations, emerging in diverse forms that complement and enhance the overall design.

▼“大地石墙”与建筑群落，”Earthy Stone Walls” and the Building Complex©朱雨蒙

▼“大地石墙”与餐厅客房建筑，”Earthy Stone Walls” and the Dining Hall & Guest Room Building ©刘国威

大地石墙塑造新空间关系需要借场地与大山水连接的两个“势”，即南侧面向开阔田野的苍山“平远之势”和西侧面向水塘草坪的苍山“高远之势”。借这两个主势，结合场地内部大树的分布、核桃林、水塘等近身尺度丰富的资源，逐渐发展出两个最重要的体验序列。

▼最终方案手工模型，Final Scheme Handmade Model ©之间建筑

The redefinition of spatial relationships through the earth stone wall necessitates harnessing two intrinsic “forces” connected to the site’s natural surroundings and the majestic mountains: the “broad and distant” vista of the Cangshan Mountain facing the expansive fields to the south, and the “lofty and distant” perspective of the same mountain range overlooking the pond and grassy plains to the west. By leveraging these principal forces, and in harmony with the internal distribution of ancient trees, walnut groves, ponds, and other intimately scaled natural resources, two of the most significant experiential sequences gradually emerge.

▼“大地石墙”与建筑群落，”Earthy Stone Walls” and the Building Complex©朱雨蒙

▼“大地石墙”与餐厅建筑，“Earthy Stone Walls” and the Dining Hall ©刘国威

其中第一组体验序列借苍山的“平远之势”，从半围合的内院开始，从北向南依次展开。内院的原生大树、大叶灌木和流动水景延续了溪边的山林气息，庭院中心的茶室转角打开，与内院融为一体。轻盈的钢连廊串起庭院四周各空间，南侧中间是狭长透明的花园起居室，南北均是落地大推拉门，将体验从内院自然引向外部的核桃林。在核桃林的庇护下休息放松，视野和体验逐渐向开阔的农场和苍山打开。最终向前走到水塘边，水平延绵的苍山诸峰尽收眼底。

▼第一组“平远之势”体验序列示意，First Group “Distant Flat Momentum” Experience Sequence Diagram© 之间建筑

The first sequence draws upon the “broad and distant” perspective of Cangshan Mountain, originating within a semi-enclosed inner courtyard and unfolding sequentially from north to south. The native trees, lush shrubs, and flowing water features within the courtyard evoke the atmosphere of woodland by the stream, while a corner tea pavilion seamlessly integrates into the courtyard’s fabric. Delicately crafted steel corridors connect the surrounding spaces, with the central southern zone featuring a narrow, transparent garden living room. Floor-to-ceiling sliding doors on both the north and south sides naturally extend the experience from the courtyard into the adjacent walnut grove. Resting and relaxing beneath the shelter of the walnut trees, one’s view and perception gradually open toward the expansive farmland and the distant Cangshan Mountains. Ultimately, approaching the pond reveals a panoramic vista of the mountain peaks stretching endlessly across the horizon.

▼内院与茶室，Inner Courtyard and Teahouse©朱雨蒙

▼从内院茶室望向花园起居室与苍山，View of the Garden Living Room and Cangshan from the Inner Courtyard Teahouse©朱雨蒙

▼从内院水景望向花园起居室，View of the Garden Living Room from the Inner Courtyard Water Feature ©朱雨蒙

▼两侧开敞的花园起居室，Open-sided Garden Living Room©朱雨蒙

▼从花园起居室望向苍山，View of Cangshan from the Garden Living Room©叶鑫淼

▼从核桃林平台望向苍山，View of Cangshan from the Walnut Grove Terrace©叶鑫淼

另一组体验序列借西侧苍山极具纵深感的“高远之势”，从东向西依次展开。从室内通高的餐厅开始，西侧是抵挡西晒而压低的檐口。再往西是半围合、半向苍山打开的活动草坪，远处苍山夹在石墙、大树和建筑之间，显露出一段立轴式的片段。继续向西，行至水塘边，建筑褪去，苍山完全被簇拥在大树之间，倒映在水面上，此时便是苍山在场地上另一种独特的“高远”意境。最后从左手边林荫大道行至水塘对岸回望，主体建筑在这里被两侧大树和水面勾勒出最具纵深感的庄园栖居景象。▼第二组“高远之势”体验序列示意，Second Group “Lofty Distant Momentum” Experience Sequence Diagram©之间建筑

A second experiential sequence draws upon the profound depth and verticality of the western Cangshan Mountain, unfolding sequentially from east to west. Beginning within the interior, the soaring ceiling of the dining room is complemented by a lowered eave designed to shield against the western sun. Moving westward, an open yet semi-enclosed activity lawn faces the mountain, with the distant peaks nestled amidst stone walls, grand trees, and architectural elements, forming a striking axial fragment. Continuing westward toward the pond, the building recedes into the background, allowing the Cangshan Mountain to be fully embraced by clusters of trees, reflected vividly upon the water’s surface—creating a distinct, elevated sense of grandeur and distant majesty within the site. Finally, strolling along the shaded avenue on the left towards the pond’s opposite bank, one’s gaze is drawn back to the main structure, framed by towering trees and water, culminating in a quintessentially profound and expansive view of the estate’s tranquil retreat.

▼“高远之势”相关片区鸟瞰，Aerial View of the Area Related to “Lofty Distant Momentum”©朱雨蒙

▼餐厅外立面，Dining Hall Facade©刘国威

▼从餐厅望向草坪和苍山，View of the Lawn and Cangshan from the Dining Hall ©朱雨蒙

▼从活动草坪望向苍山，View of Cangshan from the Activity Lawn ©朱雨蒙

▼从水塘边草坪望向“高远”的苍山，View of the “Lofty” Cangshan from the Lawn by the Pond©叶鑫淼

▼从西水塘对岸回望主体建筑，View of the Main Building from the Opposite Bank of the West Pond©朱雨蒙

坡屋顶下的家

A Home Beneath the Sloping Roof

项目推进过程中，AKA逐渐发现鲜花直播的商业模式在大理不成立，大理的物流速度没法保证将新鲜的花发往全国。然而农场的日常维护开销不菲，需要新的经营策略来保证农场的长期运营。一番纠结之后，她决定将1、2号楼留着自用，还是作为农场之家；3到8号楼做成对外经营的庄园酒店。除了石墙外，AKA不太喜欢其他传统白族民居元素，包括铺装传统筒瓦板瓦、坡度平缓、屋脊起翘的硬山双坡屋顶。从审美上，她个人更偏爱类似欧洲谷仓类建筑的陡坡屋顶，以及阁楼老虎窗等空间意向。我们顺势在大地石墙之上发展出一组四坡屋顶群落，从剖面上开始雕琢建筑内部空间体验。

▼手工模型建筑编号示意，Handmade Model Building Number Diagram © 之间建筑

During the project’s development, AKA gradually realized that the commercial model of live floral broadcasting was unfeasible in Dali, as the region’s logistics could not guarantee the timely delivery of fresh flowers nationwide. Meanwhile, the daily maintenance costs of the farm were substantial, necessitating innovative operational strategies to ensure its long-term sustainability. After careful deliberation, she decided to retain Buildings 1 and 2 for personal use or as the farmhouse’s residence, while transforming Buildings 3 through 8 into an estate hotel for external guests. Aside from the stone walls, AKA was less inclined to incorporate traditional Bai minority architectural elements, such as paved terracotta or flat-tile roofs, gentle slopes, and the distinctive upturned ridges of the hard-mountain double-pitched roofs. Aesthetically, she favored steeper, European-style barn roofs and attic dormer windows that evoke a sense of spatial character. Accordingly, we developed a cluster of four-pitched roofs atop the earth stone walls, beginning with a sectional approach that meticulously sculpted the internal spatial experience of the architecture.

▼1号楼“农场之家”鸟瞰，Aerial View of Building 1 “Farm House”©朱雨蒙

▼从南水塘望向1号楼“农场之家”，View of Building 1 “Farm House” from the South Pond©朱雨蒙

▼从大杨树望向1号楼“农场之家”，View of Building 1 “Farm House” from the Big Poplar Tree ©朱雨蒙

1号楼“农场之家”原有轮廓是L型，我们将四坡屋顶与两级退台平屋顶相互穿插嵌套，来适应原边界。这里是AKA自己及家人的主要生活区。入口玄关、开放式楼梯、二层过厅、三层阁楼串起了坡屋顶下独特的空间体验，屋顶天窗和东侧老虎窗将天光和竹影引入室内。为了避免高原强阳光直射室内带来的炫光和闷热，天窗没有直接用大玻璃，而是用细钢柱撑起一小片轻质屋顶，让光线从侧面缝隙以漫反射的方式柔和地进入室内。二层坡屋顶下其他小空间则用大尺度老虎窗为室内争取出层高和光线，容纳盒子间（儿童卧室）、游戏室和卫生间等附属空间。

▼1号楼“农场之家”剖透视，Sectional Perspective of Building 1 “Farm House”©之间建筑

Building No. 1, “The Farmhouse,” originally features an L-shaped silhouette. We intertwined the four-pitched roofs with a two-tier stepped flat roof to harmonize with the original boundary. This area serves as the primary living quarters for AKA and her family. The entrance vestibule, open staircase, second-floor corridor, and attic seamlessly connect beneath the distinctive sloped roof, creating a unique spatial experience. Skylights and east-facing dormer windows draw natural daylight and bamboo shadows into the interior. To mitigate the harsh glare and heat caused by direct sunlight in the highland climate, the skylights eschew large glass panes; instead, they are supported by slender steel columns that hold up a lightweight roof segment. This design allows light to diffuse softly through side gaps via reflected scattering. The smaller spaces beneath the second-floor pitched roof—such as the children’s bedrooms, playroom, and restroom—are illuminated and endowed with generous headroom through large dormer windows, enriching the interior with ample daylight and spatial openness.

▼从1号楼“农场之家”阁楼回望开放式楼梯与天窗，View of the Open Staircase and Skylight from the Attic of Building 1 “Farm House”©朱雨蒙

▼从1号楼“农场之家”楼梯回望一层餐厅与二层过厅，

View of the First-Floor Dining Hall and Second-Floor

Vestibule from the Staircase of Building 1 “Farm House”©朱雨蒙

▼俯瞰1号楼“农场之家”开放式楼梯，Overhead View of the Open Staircase in Building 1 “Farm House”©朱雨蒙

西侧山景最好的两级退台平屋顶下是首层起居室和二层主卧。南侧超大尺寸玻璃为起居室中段框出极开阔的苍山农场景观；但最受欢迎的还是西侧转角打开的榻榻米围坐区，朋友们一坐下就不想走了，转角落地推拉门打开后，人和自然之间的边界消失了，小溪、草地、大树、苍山一层层无碍地打开，与自然全然拥抱。二层西侧最好的景观留给了主卧，AKA说每天窗帘升起来，面对苍山醒来带给自己巨大的幸福感。

Beneath the dual-tier stepped flat roof on the western hillside, the ground floor comprises the living room, while the main bedroom occupies the second floor. The expansive south-facing glass panels frame an extraordinarily panoramic view of the Cangshan Mountain and the farm landscape. However, the most cherished space is undoubtedly the corner Tatami seating area on the west side; once friends settle in, they are reluctant to leave. When the corner floor-to-ceiling sliding doors are opened, the boundary between person and nature dissolves entirely— the creek, meadow, ancient trees, and successive layers of Cangshan Mountain unfold seamlessly, creating an unbroken embrace with the natural world. The finest views on the second floor’s west side are reserved for the master bedroom. According to AKA, each morning as the curtains are drawn back, awakening to the grandeur of Cangshan Mountain fills her with immense joy.

▼1号楼“农场之家”南立面，South Facade of Building 1 “Farm House”©朱雨蒙

▼1号楼“农场之家”西南立面转角打开，Open Corner of the Southwest Facade of Building 1 “Farm House”©朱雨蒙

▼1号楼“农场之家”南立面细节，South Facade Details of Building 1 “Farm House”©刘国威

▼从1号楼“农场之家”起居室望苍山，View of Cangshan from the Living Room of Building 1 “Farm House”©朱雨蒙

▼1号楼“农场之家”转角打开的榻榻米围坐区，Open Corner Tatami Seating Area in Building 1 “Farm House”©朱雨蒙

▼1号楼“农场之家”二层主卧，Second-Floor Master Bedroom of Building 1 “Farm House”©朱雨蒙

2号楼“下沉式休闲吧”占地极小，却是场地内视野最开阔独立的位置，南侧直面苍山田野，北侧是内部草坪。2号楼最初的意向就是一个开敞的小亭子。八根钢柱藏在四边中段的短墙内，借坡屋顶悬挑之力，四个转角完全打开，落地推拉门可完全藏于短墙之内。一步入两米高的低矮檐下，剖面游戏便开始了。室内地面整体下沉0.7米，形成强烈的围合感；中心高耸，四周檐口低矮的天光坡屋顶给室内又增加了一层庇护感。东侧是内外双壁炉，围炉落座，随着视线高度降低，苍山便从低矮的檐口下完整地浮现出来。此时视野和心性极其开阔，身体却能感受到亲密的围合庇护。

▼2号楼剖透视，Sectional Perspective of Building 2©之间建筑

Building No. 2, the “Sunken Leisure Lounge,” occupies a remarkably small footprint yet offers the most expansive and independent views within the site. To the south, it faces the Cangshan Mountains and farmland directly, while to the north lies an internal lawn. The initial concept for this structure was that of an open, intimate pavilion. Eight steel columns are discreetly concealed within short walls at the midpoints of all four sides, leveraging the cantilever support of the sloped roof. Consequently, all four corners are fully open, with floor-to-ceiling sliding doors that can be entirely tucked away into the short walls. Stepping under the two-meter-high eaves, a playful sectional experience begins. The interior floor is deliberately sunken by 0.7 meters, creating a strong sense of enclosure; the central roof rises loftily, while the low eaves and skylight-sloped roof surrounding it add an extra layer of shelter. On the east side, dual indoor and outdoor fireplaces foster an intimate gathering space; as the eye’s height lowers, the majestic Cangshan Mountain emerges in full view beneath the modest eaves. At this moment, the vista and the mind feel remarkably vast, while the body experiences a profound sense of close-knit refuge.

▼2号楼望向苍山，View of Cangshan from Building 2©朱雨蒙

▼2号楼北立面（推拉门打开），North Facade of Building 2 (Sliding Doors Open)©朱雨蒙

▼2号楼推拉门打开后变为亭子，Building 2 Transforms into a Pavilion When Sliding Doors Are Open©刘国威

▼2号楼室内推拉门关闭与打开，Interior of Building 2 (Sliding Doors Closed & Open)©朱雨蒙

▼2号楼室内望向苍山，View of Cangshan from the Interior of Building 2©叶鑫淼

▼2号楼室内望向苍山近景，Close view of Cangshan from the Interior of Building 2© 朱雨蒙

▼2号楼转角打开，Open Corner of Building 2©朱雨蒙

庄园酒店，游走在花园与山水之间

Manor Hotel，Wandering Between Gardens and Landscapes

AKA最初给“山叁夏”加上“庄园酒店”这个后缀时，我觉得终于找到这个酒店的内核了。这不是一个由几栋建筑组成的酒店，建筑在这里只是客人感知自然的媒介。酒店的真身是花园、大树、溪流水塘、草地、农田、苍山、云霞… 是人能在这个场地上感受到的一切自然，它们像交响乐的不同声部，随着人在其中行望居游，在一个个空间场景中共鸣出不同的度假体验，让人在自然的层层包裹中逐渐放松下来。自然的层次在这里是极丰富的，而整个庄园酒店体验的张力和松弛感就是在各种尺度自然的相互交织、共谋、反转、递进的关系中生发出来。

When AKA first appended the suffix “Manor Hotel” (underdream hygge lodge) to “Shansanxia,” I felt as though I had finally uncovered the true essence of this retreat. This is not merely a hotel composed of several buildings; the architecture is simply a medium through which guests perceive and connect with nature. The true soul of the hotel resides in the gardens, towering trees, flowing streams, ponds, meadows, farmland, Cangshan Mountain, and the clouds and mist—everything that nature offers within this space. These elements are akin to the different voices of a symphony, resonating with visitors as they wander, observe, and linger in various spatial scenes, evoking diverse vacation experiences. In this layered embrace of nature, guests gradually relax and unwind. The richness of natural textures here is profound, and the dynamic tension and serenity of the entire manor hotel experience emerge from the intricate interplay, collaboration, reversal, and progression of natural scales and elements.

▼从庄园望向苍山，View of Cangshan from the Manor©朱雨蒙

酒店客人的入口位于场地最东侧一片幽静的桉树林。缘溪而行，进入大门后首先到达一个被高大桉树林半围合的花园，树之间若隐若现着远处的苍山，近身处环抱着充满野趣的“地中海花园”（配合桉树吸水特性种的耐旱花草），在暖黄色砾石和高原光影的衬托下，热烈而随性。在花园中停歇片刻，被管家引至爬满植物的花房前台，室内的老木板散发着农场的自然气息，在高高低低的植物间穿梭，坐下，窗外的大片苍山在这一刻才忽的完整出现。沉浸在山景之中，温热的毛巾和农场自种的果蔬汁已送上，身心在植物的簇拥下开始放松。

Guests enter through a tranquil eucalyptus grove on the easternmost edge of the site. Following the creek, they arrive at a garden subtly enclosed by tall eucalyptus trees, where the distant Cangshan Mountain faintly appears through the foliage. Nearby, a lively “Mediterranean Garden,” planted with drought-resistant herbs and plants that thrive on the eucalyptus’s water absorption, creates a whimsical, liberated atmosphere against the warm yellow gravel and dappled highland light. Pausing briefly in the garden, guests are guided by the steward to a plant-covered greenhouse front desk. The interior, with its aged wooden planks, exudes a rustic farmstead charm. Weaving through the lush vegetation, guests settle down, and at that moment, the panoramic view of Cangshan Mountain suddenly becomes whole and vivid outside the window. Immersed in the mountain scenery, they are served warm towels and freshly pressed fruit and vegetable juices from the farm. Surrounded by the lush greenery, both body and mind begin to relax, fully embracing the tranquility of this natural sanctuary.

▼从按树林花园望向苍山，View of Cangshan from the Eucalyptus Forest Garden©朱雨蒙

▼从按树林花园望向花房前台，View of the Greenhouse Reception from the Eucalyptus Forest Garden©朱雨蒙

▼花房前台室内，Interior of the Greenhouse Reception©朱雨蒙

▼花房前台室内，Interior of the Greenhouse Reception©朱雨蒙

休息片刻，从地中海花园踱步向酒店主体，两侧高低起伏的弧形石墙逐渐收窄，引向雨棚下低矮的隐秘入口。被两侧石墙和压低的黑色格栅顶夹着前行，光线幽暗，一抹亮绿在前方引着视线，那是阳光打在内院象耳芋巨大的叶片上弥漫的光泽，左手边一束天光打亮了穿透廊顶的桉树树干，廊顶洞口是为保护这棵桉树专门而留。沿着黑色钢廊继续前行，绕过转角的大叶植物，一片静谧的内花园伴随着流水声逐渐出现。

Pause briefly, then stroll from the Mediterranean Garden toward the main structure of the hotel. The undulating, arching stone walls on either side gradually constrict, guiding the way beneath a canopy to a low, secluded entrance. As you proceed, enveloped by the stone walls and a lowered black grille canopy, the surroundings become dimly lit, save for a vivid green streak ahead—a luminous sheen cast by sunlight illuminating the massive leaves of the elephant ear plants within the courtyard. On the left, a shaft of daylight pierces through the eucalyptus canopy, illuminating the tree trunk that has been deliberately left exposed at the corridor’s ceiling opening, serving as a protective measure for the tree. Continuing along the black steel corridor, you pass a large-leafed plant at a bend, and gradually, a tranquil inner garden emerges, accompanied by the gentle sound of flowing water.

▼酒店区入口，Hotel Area Entrance ©朱雨蒙

▼从酒店区入口门廊望向内院花园，View of the Inner Courtyard Garden from the Hotel Area Entrance Portico ©朱雨蒙

▼酒店内花园，Inner Garden of the Hotel ©朱雨蒙

花园的中心是坡屋顶下转角打开的茶室，向外探出悬浮在水面之上。步入茶室，在低矮的室内贴地而坐，茶室本身不大，但转角推拉门打开后，整个内庭都被纳入品茗的杯盏中。静心定神，植物和自然从身边逐层展开：第一层是脚下的流水和水池中的原生柏树；第二层是内廊边的大叶植物，透亮的大叶片贴着走廊，让走过的人都忍不住伸手触摸；第三层是轻盈的钢廊屋顶上的花草，间或垂下；第四层是建筑外围高大的桉树和杨树；最后一层便是远处的农场和苍山。

At the center of the garden lies a teahouse with an open-corner design under the sloping roof, protruding outward and hovering above the water; stepping into the low-ceilinged space, guests sit close to the ground, and though the teahouse itself is modest in size, when the corner sliding doors glide open, the entire inner courtyard is framed within the teacup as one savors tea, and calming the mind and settling the spirit, nature unfolds layer by layer around you: the first layer is flowing water beneath your feet and native cypress trees in the pond; the second layer is large-leaf plants along the inner corridor, their translucent leaves pressing against the walkway, tempting passersby to reach out and touch; the third layer is flowers and grasses on the lightweight steel corridor roof, dangling occasionally; the fourth layer is tall eucalyptus and poplar trees surrounding the building; and the final layer is the distant farmland and Cangshan Mountains.

▼内花园与茶室，Inner Garden and Teahouse ©朱雨蒙

▼内花园、茶室、连廊与苍山，Inner Garden, Teahouse, Corridor and Cangshan ©朱雨蒙

▼内院水景与连廊，Inner Courtyard Water Feature and Corridor ©朱雨蒙

▼转角打开的茶室，Open Corner Teahouse ©朱雨蒙

▼从茶室看一层层的植物，View of Layered Plants from the Teahouse ©朱雨蒙

内院半开半合，营造空间层次最关键的一笔便是连接内院和苍山，两侧通透的花园起居室。起居室东西狭长，两侧落地推拉门全部打开后，就变成了轻薄的灰空间。这样的灰空间在云南被称作“花厅”，在大理常年二十度左右的白天，遮阳避雨的花厅是最舒服好在的。在花园起居室坐下，往北回望内院和茶室，往南透过核桃林远眺苍山。起身步入核桃林平台，农场的气息便迎面而来，近处的水塘草坪，菜园花圃，伴随着远处水平连绵起伏的苍山在这里缓缓展开。在这里休憩用餐最能感受到开阔的农场气息。

The inner courtyard, with its semi-open and semi-closed form, masterfully creates a layered spatial experience, primarily achieved through the connection between the courtyard and the majestic Cangshan Mountain. The garden-facing living rooms on either side are elongated in the east-west direction. When the full expanse of sliding doors on both sides is opened, these spaces transform into a delicate, ethereal gray zone. Such an area, known locally in Yunnan as a “flower hall,” provides the most comfortable refuge during the year-round daytime temperatures of around twenty degrees Celsius—offering shade and shelter from rain. Sitting within the garden living room, one can gaze northward back into the courtyard and tea house, or southward through the walnut grove to the distant Cangshan Mountain. Rising from this vantage point onto the walnut grove platform, the invigorating scent of the farmland fills the air. Nearby, the pond, grassy lawns, vegetable patches, and flower beds gradually unfold, with the undulating Cangshan Mountains stretching across the horizon. It is here that one truly senses the expansive vitality of the farm, especially when resting and dining amidst this open landscape.

▼花园起居室与屋顶露台，Garden Living Room and Roof Terrace ©朱雨蒙

▼从茶室看花园起居室，View of the Garden Living Room from the Teahouse ©朱雨蒙

▼从花园起居室走向核桃林平台，Walking from the Garden Living Room to the Walnut Grove Terrace ©叶鑫淼

▼从花园起居室看苍山，View of Cangshan from the Garden Living Room ©朱雨蒙

转身回内院，沿内廊行至西北角，通高的餐厅开启了另一组体验自然的序列。这个通高餐厅是庄园酒店坡屋顶下最独特的室内空间。8.7米高空间给用餐体验增添了仪式感，低矮的坡屋顶檐口又把这种仪式感调和到适宜的身体尺度。一天中不同的自然光从天窗和南侧老虎窗柔和地打亮室内，光影随着树影共同变幻。这里最精彩的山景在西侧，不过为了抵挡猛烈的西晒，西侧落地推拉门外首先是一个压低的深檐口，檐下设餐桌，落座后，前述中场地独有的“高远”苍山纵深景观顺着近处的草坪、两侧的废墟石墙和大树往远处延伸，直至三千米之外的苍山兰峰。

▼餐厅与开放式厨房剖透视，Sectional Perspective of the Dining Hall and Open Kitchen© 之间建筑

Turning back to the inner courtyard and walking along the inner corridor to the northwest corner, the double-height dining room unfolds another sequence of natural experiences—this space is the most unique indoor area under the manor hotel’s sloping roofs; its 8.7-meter height adds a sense of ritual to the dining experience, while the low sloping roof eaves balance this ritual with a comfortable human scale; different natural light throughout the day gently illuminates the interior through skylights and south-facing dormer windows, with light and shadow shifting alongside the tree silhouettes; the most stunning mountain view here lies to the west, but to block the intense western sun, a low, deep eave is first installed outside the west-facing full-height sliding glass doors, with dining tables placed under the eave; when seated, the site’s unique “lofty distant” Cangshan landscape—characterized by profound depth—stretches far into the distance along the nearby lawn, ruined stone walls on both sides, and tall trees, reaching Lanfeng Peak of Cangshan Mountains three kilometers away.

▼从草坪回望餐厅，View of the Dining Hall from the Lawn©刘国威

▼从草坪回望餐厅近景，Close view of the Dining Hall from the Lawn ©刘国威

▼餐厅室内，Interior of the Dining Hall© 朱雨蒙

▼餐厅室内看向室外，Interior of the Dining Hall looking towards Outside© 朱雨蒙

▼从活动草坪望向苍山，View of Cangshan from the Activity Lawn © 朱雨蒙

由于农场之家的私密性需要，我们后期在西侧草坪上增加了两道低矮的废墟石墙，隔开了酒店和家的户外场地。沿着草坪穿过石墙间的矮门，再往西便是农场之家的领地。对自然的体验还在延续变化，大草坪尽端是场地最大的水塘，水塘的对岸是AKA精心打造的各色系观赏花园，沿着水塘边的林荫道走出去，身边便只有花园和远山了。这场在花园与山水之间的游走最终停留在农场深处无尽的自然之中。

In consideration of the farmstead’s need for privacy, we later added two low, ruinous stone walls along the western lawn, effectively partitioning the outdoor spaces between the hotel and the residence. Passing through small gates nestled within these walls along the lawn, one enters the domain of the farmstead. The experience of nature continues to evolve; at the far end of the expansive lawn lies the largest pond on the property. Across the water, meticulously designed by AKA, are a series of vividly themed ornamental gardens. Strolling along the shaded woodland path beside the pond, the surroundings are now solely composed of lush gardens and distant mountains. This journey between garden and mountain ultimately culminates in a profound immersion into the boundless natural wilderness deep within the farmstead.

▼通往农场的林荫道，Shaded Path Leading to the Farm © 朱雨蒙

植物、花园、院落、农场，再现一种大理的自然生活方式

Plants, Gardens, Courtyards, Farms: Embodying a Natural Lifestyle in Dali

这些年“海景度假”已然成为大理旅游的代名词，无数人对大理诗和远方的想象都压缩在面朝洱海那个纯粹诗意的框景中。零距离的海景度假产品一度将大理推向高端度假的打卡圣地，从十多年前就开始的海景民宿到这两年异常火爆的海景咖啡，洱海始终是游客眼中大理的流量中心。然而“老大理”们日常生活的大理却是另一番景象。在大理长居，苍山下的海西田园坝子才是真正养人的，打开地图看看古城和村落的分布便可知此事自古如此。传统白族人的院子里爱养花草，喜种梅李果树，十多年前初来大理时就被很多老院子里古树环抱的自然气息所打动。这种围绕着院落和植物展开的自然生活方式也传给了旅居大理的新移民，好多人搬来大理的第一件事就是在苍山下田园间找院子。在一方小院里，既受庇护，又能与天地自然、树木花草亲密地共处，这样的宜居和养人，才是大理能不断吸引外来移民长住的魅力。洱海边是游客短暂的诗意浪漫，真正让人安顿下来的却是苍山脚下的田园，院落、花园和植物才是大理在地原生生活的底色。

In recent years, the “seaside retreat” has become synonymous with Dali tourism, with countless individuals imagining the poetical faraway of Dali encapsulated within the pristine, poetic frame facing Erhai Lake. The proximity of sea-view vacation offerings once propelled Dali into the realm of high-end retreat destinations; from the sea-view bed and breakfasts established over a decade ago to the remarkably popular seaside cafés of the past two years, Erhai consistently remains the focal point of visitors’ attention and flow. Yet, the everyday life of the “authentic Dali residents” presents a different tableau. Long-term inhabitants find true nourishment in the lush pastoral plains beneath Cangshan Mountain; a glance at the map revealing the distribution of ancient towns and villages confirms this age-old truth. Traditional Bai courtyards are cherished for their flowering plants and fruit trees like plum and lychee. Over a decade ago, upon arriving in Dali, I was profoundly moved by the natural aura of old courtyards embraced by ancient trees. This natural lifestyle—centered around courtyards and vegetation—has also been passed on to new settlers in Dali; many who move here first seek out an abode amidst the pastoral lands beneath Cangshan. In such a modest courtyard, one finds both shelter and an intimate communion with the natural world—trees, flowers, and the sky. This livability and nurturing environment constitute the true allure that continuously draws outsiders to settle long-term in Dali. While Erhai Lake offers fleeting poetic romance for tourists, it is the pastoral landscapes at the foot of Cangshan—courtyards, gardens, and flora—that form the authentic, indigenous essence of Dali’s way of life.

▼内花园，Inner Garden © 朱雨蒙

▼内花园与连廊，Inner Garden and Corridor © 朱雨蒙

当初AKA改变原计划，想要在农场布满大树花草的场地上做一个庄园酒店时，久居大理的本能让我觉得终于有机会可以把大理更有在地深度的自然生活，以一种新的方式再现出来。如果说庄园的公区游走在花园与山水之间的一系列动态体验，展示了如何把自然生活方式拓展到山水尺度之中；那么庄园客房最终又把客人的度假生活拉回到宁静的院落和植物里。整个庄园酒店只有六间客房，分布在主体建筑的不同角落，每间客房房型都不一样，但都有一个共同的特点—每间客房都带有一个独享的私密院子和花园。客房的边界不止于室内的落地门窗，院子和花园才是每间客房真正的起居室，触手可及的大树和花草是最生动的软装，每间客房都像住进一个活泼泼的自然天地里。

When AKA changed her original plan to build a manor hotel on the tree-lined, flower-strewn farmland, my instinct as a longtime Dali resident told me that this was finally a chance to reproduce Dali’s more profound indigenous natural lifestyle in a new way; if the series of dynamic experiences wandering between gardens and landscapes in the manor’s public areas demonstrates how to expand the natural lifestyle to the landscape scale, then the manor’s guest rooms ultimately draw guests’ vacation life back to quiet courtyards and plants. The entire manor hotel has only six guest rooms, scattered across different corners of the main building, each with a unique layout but sharing one common feature—every room comes with an exclusive private courtyard and garden; the boundaries of the guest rooms extend beyond the indoor floor-to-ceiling doors and windows, as the courtyard and garden are the true living spaces of each room, the trees and flowers within arm’s reach are the most vivid soft furnishings, and each guest room feels like residing in a vibrant natural haven.

AKA对植物和手工的热爱也为庄园里的自然生活方式定下了室内审美基调。庄园每一个空间里都有她精心布置插花，鲜花全都来自农场里各色系花园，每两三天就要换一次。按她的说法，大理是植物的开挂区，鲜花在这里一年能开三百来天，在这里真正实现了鲜花自由。AKA动手能力也极强，庄园的每间客房都有她亲自画的植物狩猎主题的油画，房间挂毯和抱枕很多都是她亲自染的羊毛和纱线钩织而成，庄园里的餐盘茶器也都是在农场陶工坊里烧制而成。植物鲜花和自然手工就这样顺理成章地发展成室内的主题。

AKA’s profound love for plants and handcrafted artistry has naturally established the interior aesthetic tone of the manor, reflecting a harmonious integration of natural life. Every space within the estate is thoughtfully adorned with her meticulously arranged floral arrangements, sourced from the diverse gardens of the farm; these floral displays are refreshed every few days. According to her, Dali is a veritable paradise for flora—flowers flourish here for over three hundred days each year, truly realizing the concept of unfettered floral abundance. Her exceptional craftsmanship is evident throughout the manor: each guest room features a personally painted oil masterpiece centered on botanical themes. Many of the tapestries and cushions are woven from hand-dyed wool and yarn, a labor of her own creation. Even the dinnerware and teaware in the estate’s dining areas are crafted in the farm’s pottery workshop. In this way, the motifs of plants, flowers, and natural handcrafted elements have seamlessly evolved into the overarching interior theme, creating an environment where nature and artful craftsmanship coexist in perfect harmony.

植物、花园、院落、农场在这里构建出大理自然生活方式的一种新形态。在这里，度假和生活都是一种“慢”的丰盈。独享的宁静，无界的自然，久违的自在，这也许是人们在大理能够感受到的最本真的体验，或许也是当下都市人群趋之若鹜来到大理想要寻找的“疗愈”。

Plants, gardens, courtyards, and the farm collaboratively forge a new expression of Dali’s natural way of life. Here, both leisure and daily existence embody a state of abundant “slowness.” The serenity of private solitude, boundless natural landscapes, and a long-awaited sense of ease perhaps constitute the most authentic experience one can encounter in Dali. It may also represent the very “healing” that contemporary urban dwellers ardently seek when they venture to Dali, yearning for renewal and tranquility amidst the bustling world.

从形式到关系

From form to relationship

今年夏天金秋野老师来访大理，在驾车开往喜洲的路上，我聊起自己一度对这个项目的隐隐困惑：由于场地的限制和业主对坡屋顶主题的前置需求，设计过程有点像命题作文，我内心一直觉得这个设计在建筑形式语言创新上没有力度；但奇怪的是从施工开始到正式运营，每次去现场，我自己又会被现场种种生动的体验不断地打动，到底是什么在打动我？金老师笑着回应：“这就是问题，我们总是对取哪种形式特别关心，我们特别怕自己不够原创。但是一旦你转换一个思路，觉得建筑做的是关系而不是原型的话，这就再也不是问题了。这也就是为什么我看巴瓦最开始不理解的原因，他直接用传统样式，你会觉得他是一折中主义建筑师。因为评价标准有问题，你会觉得他的建筑不够原创。你一直会问他为什么不原创，他为什么不发明一个自己的符号语言，为什么不发明一个巴瓦标签，你不能这样想问题，一旦这样想问题就落入窠臼，巴瓦做的是关系！”

This summer, Jin Qiuye visited Dali. On the drive to Xizhou, I confided in him about a lingering confusion regarding this project: due to site constraints and the client’s precondition for a pitched roof theme, the design process felt somewhat like a prescribed composition. I had always felt that the architectural language lacked innovation and vigor. Yet, strangely, from the start of construction through to the project’s official operation, every site visit continually moved me with its vivid and lively experiences. What exactly was touching me? Mr. Jin smiled and responded: “That’s the core issue. We tend to focus excessively on the form—worried about whether our work is sufficiently original. But once you shift your perspective and see architecture as about relationships rather than prototypes, this concern ceases to be relevant. This is also why I initially misunderstood Bawa. He used traditional styles outright, and I thought he was an eclectic architect. Because the standards for evaluation are flawed—you might think his work lacks originality. You keep asking why he doesn’t create his own symbolic language, why he doesn’t invent a unique ‘Bawa label.’ But you can’t think this way. If you do, you’ll fall into a rut. Bawa’s approach is about relationships!”

这段谈话一下子给我的形式焦虑松绑了。此前我对建筑形式创新上的不确信，也正是被现场打动我的种种真实身体体验一点点补救起来的。细想起来，这些生动的现场体验就是来自场地关系，来自通过精心回应和重新编织现场各种尺度的自然元素，塑造出的室内外空间关系。

This conversation immediately alleviated my anxiety regarding architectural form. My earlier doubts about formal innovation were gradually remedied by the authentic bodily experiences I encountered on site. Reflecting more deeply, these vivid onsite sensations stem from the relationships between spaces—crafted through meticulous responses and the reweaving of natural elements at various scales within the environment, thus shaping the indoor-outdoor spatial dialogue.

回顾设计的心路历程，形式并非不重要，但形式仍然是工具。形式是建筑师与具体物质世界打交道最重要的操作工具，并决定着建筑最终的物质呈现品质。但形式自身是一个封闭的思考工具，关系才是开放的，因为“关系”直面每个项目复杂而生动的具体情境。顺着这个思路，关系是形式发生的“机”。得体的形式应该要经由“关系”去回应具体的情境和场地，这样形式才能向生动鲜活的具体世界保持开放，才能不被刻意的形式创新焦虑所绑架。如是茅塞顿开，带着镣铐跳舞的形式便不是问题了。在“关系”上下功夫，去感受和捕捉建筑所面对的生动而丰富的具体关系，形式终能落回到具体的场地和人的真实体验中。

Looking back on my design journey, I recognize that form is not unimportant; rather, it remains a vital tool. It is the primary means by which architects engage with the material world and ultimately determines the material quality of the final structure. However, form itself can be a closed-ended tool—an isolated operation—while relationships are inherently open, directly confronting the complex and lively specificities of each project. Following this line of thought, relationships serve as the ‘mechanism’ that enables form to emerge. An appropriate form should respond to the specific context and site through these relationships, allowing architecture to remain open to the vibrant, tangible world, and preventing it from being shackled by superficial formal innovation anxieties. Once this realization dawns, the notion of dancing with shackled form becomes irrelevant. By focusing on relationships—perceiving and capturing the vivid, rich particularities that architecture encounters—form ultimately returns to the authentic experience of specific sites and people.

项目名称：山叁夏庄园酒店与农场之家

地点：大理白族自治州银桥镇五里桥庆安里自然村

建筑设计：ArCONNECT 之间建筑事务所

主创建筑师：武州

项目建筑师：白皓文、蔡煌毅、骆俊宝（室内）、莫镇宇（室内）

设计团队：陈子豪、唐知亭、周春香、石毅、叶鑫淼、刘靖靖、孙艺琦、梁凌境、张雨露、王艺霏、王佳豪、李易璠，薛帷灿

室内软装设计：AKA

室内施工图及技术配合：ArCONNECT 之间建筑事务所

景观设计：AKA、孙晶

结构设计：马智刚，江枣

机电设计：北京卡林建筑设计有限公司

施工单位：

钢结构：郭汉文团队

农场之家室内装修：大理思成装饰有限公司

整体屋面立面施工与酒店室内装修：大理市升达装饰建材经营部

业主施工管理团队：孙晶、方洪水

建筑摄影：朱雨蒙、刘国威、叶鑫淼

建筑面积：1604㎡

占地面积：7330㎡

设计时间：2022.11-2024.10

建设时间：2023.4-2025.5

Project Name: underdream hygge lodge

Location: Qing’anli Natural Village, Wulibridge, Yinqiao Town, Dali Bai Autonomous Prefecture

Architectural Design: ArCONNECT Architect

Lead Architect: Wu Zhou

Project Architects: Bai Haowen, Cai Huangyi, Luo Junbao (interior), Mo Zhenyu (interior)

Design Team: Chen Zihao, Tang Zhiting, Zhou Chunxiang, Shi Yi, Ye Xinmiao, Liu Jingjing, Sun Yiqi, Liang Lingjing, Zhang Yulu, Wang Yifei, Wang Jiahao, Li Yifan, Xue Weican

Interior Soft Furnishings Design: AKA

Interior Construction Drawings & Technical Coordination: ArCONNECT Architect

Landscape Design: AKA, Sun Jing

Structural Design: Ma Zhigang, Jiang Zao

MEP Design: Beijing Kalin Architectural Design Co., Ltd.

Contracting Parties:

Steel Structure: Guo Hanwen Team

Farmhouse Interior Fit-out: Dali Sicheng Decoration Co., Ltd.

Comprehensive Roofing, Facade Works & Hotel Interior Fit-out: Dali Shengda Decoration & Building Materials Trading Co.

Client Construction Management Team: Sun Jing, Fang Hongshui

Architectural Photography: Zhu Yumeng, Liu Guowei, Ye Xinmiao

Floor Area: 1,604m²