序章：层积之地 — 永川的人文画卷
Prologue: Land of Stratification — The Cultural Tapestry of Yongchuan
在重庆永川，时间以温柔的笔触层叠书写。远望箕山山脉，茶山叠翠，竹海涌浪，勾勒出天际线的绵延画卷。这片自唐代便受茶圣陆羽踏足礼赞的嘉木之地，其孕育的清雅气韵，与宋明以降文人托物言志的竹节风骨，共同奠定了此地深厚的精神底色。
In Yongchuan, Chongqing, time inscribes its chronicle with gentle, layered strokes. Gazing into the distance, the Ji Mountain ranges unfold, where emerald-green tea terraces cascade and bamboo seas surge like waves, sketching a continuous scroll against the skyline. This land, revered since the Tang Dynasty as the “land of fine tea trees” where the Tea Sage Lu Yu once walked and bestowed praise, nurtures an aura of quiet elegance. Together with the unyielding character as symbolized by the bamboo’s joints—an ideal upheld by literati from the Song and Ming dynasties onward—itforms the profound spiritual foundation of this place.
∇ 项目区位
∇ 鸟瞰全景-邬霓
∇ 建筑概念草图-刘彦君
∇ 鸟瞰酒店全景-邬霓
画卷近处，神女湖如一颗镶嵌于山麓的碧色明珠，与相依的南瓜山共构出一幅山水平远的灵性图景。湖畔的永川博物馆，静默守护着从巴渝古风到近代码头的所有记忆层积。而我们的场地，便置身于这宏大的自然画卷与厚重的文化场域之间，一侧是城市广场的现代脉搏，一侧是博物馆的沉静身影。
Closer in the scroll, the Goddess Lake rests like a turquoise jewel nestled at the foothills, together with the adjoining Nangua Mountain composing a landscape both horizontal and spiritual in its vista. By the lake, the Yongchuan Museum stands in silence, guarding all layers of memory—from the ancient customs of Ba and Yu to the modern-day wharf. Our site lies precisely between this grand natural canvas and this rich cultural field, flanked on one side by the modern pulse of the city square and on the other by the quiet silhouette of the museum.
∇ 酒店主入口-代忠海
∇ 大门局部-代忠海
因此，设计的初衷始于一份谦卑的对话：建筑体量谦退而内敛，以水平延展的屋檐与素雅的立面，避免对博物馆形成视觉争夺，转而寻求一种气韵上的共鸣。我们意图在这幅既有的人文山水长卷中，以当代笔法，悄然续写一隅可栖、可游、可悟的“栖境”——它不再是孤立的物体，而是从层积之地生长而出，连接城市公共生活与私密精神休憩的渡口与画境。
Thus, the design intent begins with a posture of humble dialogue: the architectural volume retreats with modesty and restraint. Horizontally extended eaves and plain, elegant facades avoid visual competition with the museum, seeking instead a resonance in spirit and aura. Within this existing long scroll of cultural landscape, we intend to quietly inscribe, with contemporary strokes, a corner of “Habitat”—a space for dwelling, wandering, and contemplation. It is no longer an isolated object but grows from this stratified land, serving as a ferry and a painting-like realm that connects urban public life with private spiritual repose.
∇ 中庭夜景-代忠海
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