The Peony Pavilion, one of the four great classical operas in China, is the representative work of Tang Xianzu, a famous opera writer of the Ming Dynasty.The live performance“Dream Peony Pavilion”located in the old block of Wenchang, Linchuan, Fuzhou,which was aimed to activate the traditional drama, promote the renovation of folk houses and motivate urban renewal.Only by activating and utilizing the traditional opera and the historical folk houses can remain for a long time, and their cultural value can be fully displayed.The architectural space transcends the function itself. By exploring the abstract perception and symbolic meaning of the opera, the audience’s emotion and the spirit of the place are unified to a certain extent.

This is architecture about time. Located in A Tour A Life, it is like a diamond ring embedded in the site. Surrounding mountains and forests are reflected in its’ fa?ade. As the sun rises and sets, the light glints on the glass fa?ade, coating it with a faint golden halo, and reflecting every moment and change of the surrounding environment in a day. The circular shape of the architecture is a symbol of the philosophy of life and growth in nature. Naturally, the space is defined as the outer and inner ring. In the outer ring, there is a scene of the hustle and bustle of life, while in the inner ring, a scene of peace and serenity specially belongs to the Ring Restaurant. It not only provides people a space isolating them from the crowds, but also a perfect venue to hold a wedding here. Thus, a stable balance between the outside and the inside is established, which is both the pursuit of architecture and the symbol of spending the rest of lives together. The architecture surface, treated like the diamond facets, brings a fantastic visual effect between solid and void. Meanwhile, its stable shape leaves people a deep impression. In this way, the architecture not only presents itself generously, but is also humbly integrated into the surrounding environment. It perfectly embodies the design concept: where you enjoy the bustling life while feel the peaceful beauty of nature.

This is architecture about time. Located in A Tour A Life, it is like a diamond ring embedded in the site. Surrounding mountains and forests are reflected in its’ fa?ade. As the sun rises and sets, the light glints on the glass fa?ade, coating it with a faint golden halo, and reflecting every moment and change of the surrounding environment in a day. The circular shape of the architecture is a symbol of the philosophy of life and growth in nature. Naturally, the space is defined as the outer and inner ring. In the outer ring, there is a scene of the hustle and bustle of life, while in the inner ring, a scene of peace and serenity specially belongs to the Ring Restaurant. It not only provides people a space isolating them from the crowds, but also a perfect venue to hold a wedding here. Thus, a stable balance between the outside and the inside is established, which is both the pursuit of architecture and the symbol of spending the rest of lives together. The architecture surface, treated like the diamond facets, brings a fantastic visual effect between solid and void. Meanwhile, its stable shape leaves people a deep impression. In this way, the architecture not only presents itself generously, but is also humbly integrated into the surrounding environment. It perfectly embodies the design concept: where you enjoy the bustling life while feel the peaceful beauty of nature.

The site is located at the south-west corner of a mixed-used courtyard in Xiaojingchang Hutong in Beijing. The site is only 26.1㎡with four sides connected with the neighbors. Lighting, ventilation, and privacy are major problems on the site. Exploration of space begins with the prototype of “Siheyuan”, four-sided enclosed courtyard. With the site constrained, the building is enclosed on four sides. Within the perimeter walls, inner space opens up to na-ture through a courtyard. Under the constraint of space, the central courtyard is compressed into patio on one side. This kind of enclosed courtyard with a narrow patio is a typical spatial typology in Chinese ver-nacular architecture, where the enclosed perimeter wall provides privacy and opens inward to nature. We divide 3.6㎡ out of 26.1㎡ as patio. The staircase is placed under the patio as well as a storage room. The patio dramatically transforms the quality of the space and improves the lighting and ventilation of the building. Along with the double-height space and skylight on the south side, ample lighting is brought into the once enclosed space. Within the extremely limited space, constructing a spatial experience with various depths of nature is rather challenging. Through “view borrowing”, the architect brings nature into the building, creating a rich internal world. We hope to return to the attention of the human body and constructing the place for it. It is the “na-ture” we believe in.

The Lianhua Hill Hilltop Public Restroom is located at the peak of Lianhua Hill, which lies on the central axis running through Shenzhen's Futian Central Business District. It is close to the Deng Xiaoping Statue Square, which receives more than 10 million visitors each year, an eminently suitable location for a "public restroom revolution" pilot project in Shenzhen. Our primary design principle was to achieve harmony between the building's architecture and the surrounding nature. A long passageway with seats for resting connects the men's and women's restrooms in the north and south wings, serving also as a visual corridor connecting the square and the forest. The building also includes a baby care room, a disabled restroom, a unisex restroom, and other accessibility features for pregnant or disabled persons. The men's and women's restrooms face the east and have a fully open design that allows for spectacular views. The design uses uniformly distributed openings to let the wind through. Together with the shade provided by the roof, this creates a cooling and comfortable airflow. The side of the building facing the square features a perforated aluminum plate etched with Wang Ximeng's painting A Thousand Li of Rivers and Mountains that both creates more privacy, and endows the square with a profound cultural aura.

The Qingdao Metro CRLand International Marine Intelligent Park Exhibition Center is located in Huangdao District, Qingdao. To its west is Mount Dazhu, and to its east is Lingshan Bay, facing the Yellow Sea. It is a new industrial park specializing in the marine industry and smart technology.The Exhibition Center is not only a core building of the new district, but is also representative of the image and position of the entire intelligent park, and has unique importance. Main roads, metro tracks, and other large-scale urban features form the background of the Exhibition Center. How to put the Exhibition Center in a dialogue with the surrounding city? How to integrate the architecture with local regional culture, and achieve its own meaning? How to make a 6200-square-meter Exhibition Center speak for a 2-million-square-meter new industrial park? These are the primary design considerations. The second and third floors of the Exhibition Center are rectangular, smooth, and bright glass boxes, giving the building a concise and positive form. It occupies nearly all the space in the north-south direction of the site, emphasizing its 100-meter, horizontally extended structure, forming a dialogue with the surrounding city in terms of its scale. The design is concise and minimal, with the "glass box" extending at the Exhibition Center's top devoid of unnecessary facade details. The struts supporting the glass wall are not only structural components but also an indispensable detail of the building's facade. The unity of form and structure makes the facade minimal, vivid, and unique, clearly presenting the building's internal logic, in a way that is rich with connotation. The layout of the front esplanade of the Exhibition Center combines the topography of the site, with the north sitting higher than the south, into an interesting space for activity and rest.The large-scale exterior transits to the small-scale space on the first floor via a cantilevered enclosure.Though the top layer of the Exhibition Center almost occupies all the space at the site, the lower floors use an elevated area and overhang to create a large amount of space needed for events. The interior spaces on the second and third floors of the Exhibition Center are located within outdoor courtyards, providing a space for resting or interacting outdoors, and bringing more light into the office spaces. The exterior of the building is rectangular and self-contained. While the interior becomes more varied thanks to the courtyards, which not only provide ventilation for the indoor spaces but also makes the glass curtain walls on the building's facade more minimal and concise.

Shanshui Shijian is located in the southern part of Chenjia Town on Chongming Island, Shanghai. Positioned as a modern Chinese-style architecture, the project is seen as an exploration and attempt of integrating modern Chinese style and traditional landscape spirit. Space strategy The enclosure wall, plants and small garden ornaments are arranged based on the traditional Chinese garden design approaches of "dotted view" and "view borrowing", which separates the space without breaking its continuity and also creates twists and turns similar to those in traditional gardens. The courtyard presents a spatial impression of advancing in due order, with winding paths leading to a secluded and endless space. Architectural shape By inheriting the idea of breaking up the whole into parts in traditional architectural spaces, the design divides the multifunctional architecture into several scattered light volumes to form a courtyard-style architectural compound. The walled-in courtyard links all architectural volumes. Combined with large glass facades of th0se volumes, it makes the indoor and outdoor spaces an integrated whole. The traditional hip roof is divided into two parts to form double layers of eaves which are reinterpreted with modern techniques and materials. Circulation Visitors are led into the building through a narrow long bamboo passage after the main entrance, which creates an atmosphere of infinite depth and seclusion. Walking a few more steps, they will reach the display and negotiation area. The connection and combination of main and secondary units generate the spatial sequence of rising and falling in cadence. Facade and materials As the simple and elegant style guides the selection of materials and colors, the whole building displays a "cool" tone set by Chinese gray. The combination of dark metal and light white stone materials aims to show the imagery of dark tiles and white walls of traditional architectures in South China.

The project is located at Caochang North Lane, adjacent to the Bell and Drum Tower. Before the renovation, it was a Hutong homestay about to be abandoned, with 7 rooms of different styles and a slightly busy courtyard. With a very limited renovation budget, the architects proposed a strategy of “micro-intervention”, trying to realize the renewal of the quadrangle courtyard with a smaller action and a lower cost. During the process of renovation, only a small portion of the house was demolished: the dilapidated narrow east room, the two partition walls of the south and north room and the toilet. Three boxes were added. One was added in the courtyard as a tearoom and the other two were integrated into the north and south rooms as an open office and a multi-function room. The rest three rooms, one kitchen, and two guest rooms were basically kept in the original layout with one guest room converted into a small tearoom and meeting room and the other retained as a staff lounge. The idea of the tea house comes from the contemplation of “time” on the site. The architect intends to connect the apricot tree, the tea house, and the sun to explore the changes brought by "time" to this site. The distance between the tree and the tea house is 6 meters. The crown radius of the tree is 5 to 6 meters and the tree is 13-meter high. The movement of the sun throughout a day projects the shadows of tree in the courtyard, which comes through the round window of the tea house in the afternoon, reflecting sparkling lights on the table. A sense of serenity is emerged in the room as the light enters, which reaches a climax in the lights and shadows around 3 to 4 in the afternoon. The circular window is out of the consideration of the void and solid space of the tea house, which acts as a receiver of light, and guides the sight at the same time so that it increases the spatial level of the yard. While looking from the outside to the inside, the tea house is the opposite scenery of the courtyard; from the inside to the outside, the tea house is the medium of communication between man and nature. The steel structure is used for the new tea house. With the structural members exposed, it emphasizes the relationship of the lines in the space and echoes the wooden structure of the original building. The terrace railing is reduced in height to allow the tea drinkers to get themselves hidden inside the gables and involved in the environment. The double-layer space of the tea house not only deepens the communication between man and the apricot tree so as to create different experiences about tea drinking but also connects with the city by overlooking the Bell and Drum Tower from the terrace.

Shanshui Shijian is located in the southern part of Chenjia Town on Chongming Island, Shanghai. Positioned as a modern Chinese-style architecture, the project is seen as an exploration and attempt of integrating modern Chinese style and traditional landscape spirit. Space strategy The enclosure wall, plants and small garden ornaments are arranged based on the traditional Chinese garden design approaches of "dotted view" and "view borrowing", which separates the space without breaking its continuity and also creates twists and turns similar to those in traditional gardens. The courtyard presents a spatial impression of advancing in due order, with winding paths leading to a secluded and endless space. Architectural shape By inheriting the idea of breaking up the whole into parts in traditional architectural spaces, the design divides the multifunctional architecture into several scattered light volumes to form a courtyard-style architectural compound. The walled-in courtyard links all architectural volumes. Combined with large glass facades of th0se volumes, it makes the indoor and outdoor spaces an integrated whole. The traditional hip roof is divided into two parts to form double layers of eaves which are reinterpreted with modern techniques and materials. Circulation Visitors are led into the building through a narrow long bamboo passage after the main entrance, which creates an atmosphere of infinite depth and seclusion. Walking a few more steps, they will reach the display and negotiation area. The connection and combination of main and secondary units generate the spatial sequence of rising and falling in cadence. Facade and materials As the simple and elegant style guides the selection of materials and colors, the whole building displays a "cool" tone set by Chinese gray. The combination of dark metal and light white stone materials aims to show the imagery of dark tiles and white walls of traditional architectures in South China.

The creation starts with the physical aesthetics of the sea hare, which is fused with the characteristics of waves and sunlight. It taps into the emotional experiential perspective of the canopy’s function by using the 3D parameter mode of a hexagonal body. (Sunshine) Sunlight penetrates the tinted glass to reach the ground. Changing in real time in different periods of a day, it has conveyed the subtle relationship among humans, buildings, colors, and nature. (Ideas) The body shape of the “sea rabbit” with a fluctuating curve reveals bright colors. The curve shapes of the ocean waves bring forth the refraction of light on the sea surface. In the experience of swimming under the sea, one feels like the sunlight shining on the sea surface and shimmering into the sea water. The swimming of fish gives the feeling of diving into the sea. These comprehensive abstract emotions have transformed and hidden in this parameter structure, with each in the crowd feeling a unique experience.

Shiwu Resort Hotel is originally a Hakka walled village which was built in Qing Dynasty. The village retains the architectures which have been classified as historical relics, including a tower for war defense, an ancestral temple and the houses. On the basis of the original houses, the designer combines new and old elements, mixing modern fashion with traditional architectural style of Hakka, and then the old houses are refreshed and added with new flavor of modernized architecture. With multiple open courtyards and patios, the houses are adorned with ponds and gentle landscaping, showing the architectural concepts of Hakka. The interconnecting structure creates a layered effect and a special experience for guests, unveiling new spaces, levels and ambiances at every turning.