序章：層積之地 — 永川的人文畫卷
Prologue: Land of Stratification — The Cultural Tapestry of Yongchuan
在重慶永川，時間以溫柔的筆觸層疊書寫。遠望箕山山脈，茶山疊翠，竹海湧浪，勾勒出天際線的綿延畫卷。這片自唐代便受茶聖陸羽踏足禮讚的嘉木之地，其孕育的清雅氣韻，與宋明以降文人托物言誌的竹節風骨，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.
∇ 項目區位
∇ 鳥瞰全景-鄔霓
∇ 建築概念草圖-劉彥君
∇ 鳥瞰酒店全景-鄔霓
畫卷近處，神女湖如一顆鑲嵌於山麓的碧色明珠，與相依的南瓜山共構出一幅山水平遠的靈性圖景。湖畔的永川博物館，靜默守護著從巴渝古風到近代碼頭的所有記憶層積。而我們的場地，便置身於這宏大的自然畫卷與厚重的文化場域之間，一側是城市廣場的現代脈搏，一側是博物館的沉靜身影。
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
∇ 大門局部-代忠海
因此，設計的初衷始於一份謙卑的對話：建築體量謙退而內斂，以水平延展的屋簷與素雅的立麵，避免對博物館形成視覺爭奪，轉而尋求一種氣韻上的共鳴。我們意圖在這幅既有的人文山水長卷中，以當代筆法，悄然續寫一隅可棲、可遊、可悟的“棲境”——它不再是孤立的物體，而是從層積之地生長而出，連接城市公共生活與私密精神休憩的渡口與畫境。
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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