Stones with Hooks — When the crowds fade away, we can still find traces of the summer in the riverbed. The riverbed has both shallow and deep sections; along the side adjacent to the road, the riverbed has been artificially raised and enclosed with pebbles to form “waterfront private spaces”. When we went down to the riverbank, we noticed that many of the pebbles around these boxes had iron hooks attached. It was easy to deduce that the hooks were installed by the villagers – so that the canopies could be firmly tied to the pebbles during the peak season.

The villagers did not make any rigid, permanent modifications to the river channel cross-section. Instead, they used the local, non-engineering method of moving pebbles to divide the riverbed into functional zones: a safe, shallow recreational area and a deeper, farther flood discharge area. The waterfront spaces, built flexibly with local materials, can be easily restored even after a flash flood – all it takes is piling up the stones again to revive the consumer scene. Movable, sustainable, and low-impact – this is truly a wonderful example of “traceless stream economy” and collective local construction.

Sunshade, Stream Play and River Crossing — There was no need for excessive “groundless” planning; the site itself is alive, and it had already outlined the task at hand: Xialang is beautiful, and it would be even more beautiful with the addition of a canopy for shade, a few steps for easy access to the water, and a line of stepping stones for crossing the river. The operator of the future café on the site had no high requirements for the building area – the space could be accommodated within the footprint of the existing public toilet. This left the remaining outdoor area as the focus of our concept.

First, let’s look at the canopy. Pebbles serve as the structural foundation for the canopies rented out by the villagers. For the “The Grand Canopy”, we decided to use the main structure of the toilet: four partition walls were built to enclose 8 structural columns, forming the higher foundation on one side of the canopy. On the side of the existing dam, four corresponding low piers were built to form the foundation on the other side. Cables were strung between these two foundations – one high, one low, one north, one south – to complete the structural construction of the canopy.

In the sweltering summer, the canopy is unfolded to welcome tourists; during typhoons or rainy days, it is retracted to ensure safety; in the off-seasons of autumn and winter, it is taken down to facilitate maintenance – and there is no need to apply for additional construction quotas. This flexible construction and operation logic takes from the site and gives back to the site. Next, let’s look at the ground landscape. After meeting the requirements of the river’s blue line setback and water conservancy elevation, we designed the ground projection area of the canopy as the starting point for accessing the stepping stones – an enlarged riverbank platform that acts like a “bridgehead”, accommodating crowds gathering and water-based activities.

Text provided by the architects.

Prefabricated Plugin units are installed directly onto existing floors without altering the original structures. Lightweight, insulated, and self-contained, these units offer year-round comfort while maintaining the spatial logic and material integrity of the buildings. Timber frames, brick walls, and tiled roofs remain untouched.
At Courtyard C34, three artists share a triangular site comprising two porcelain workshops and two small dwellings. One structure becomes a communal kitchen, while the others house individual Plugin configurations combining sleeping, working, and bathroom spaces. Sloped roofs and integrated HVAC systems respond to daylight and climate conditions. In Courtyard H20, a single artist inhabits a studio fitted with a mezzanine bedroom, flexible workspace, and openable façades that reconnect interior and courtyard. Courtyard P58 accommodates three artist studios within a long workshop, each with a ground-floor office and a sleeping loft above. A neighboring building is reimagined as a public gallery and gathering space, with a zig-zag layout that balances openness and privacy. At Yanghua Lane, a newly built café anchors a courtyard framed by three historic studios and an L-shaped residence. Multiple Plugin units support group residencies and collaborative use, forming a micro-community embedded within the historic district.

Across all four sites, the Plugin system adapts to diverse spatial conditions while maintaining a coherent architectural language. Its prefabricated modular panel system allows for variation in size, material, and detailing, accommodating irregular geometries and evolving programmatic needs. The result is a family of interventions that are distinct yet cohesive, responsive to their contexts while clearly part of a unified strategy.

While earlier work in the district introduced a civic landmark and public gathering space, this phase extends the transformation into the neighborhood’s interiors, activating underused spaces and stitching new life into the rhythms of daily activity. By working within the architectural grain of Jingdezhen’s porcelain heritage, Porcelain Studios Plugin Revival offers a replicable and respectful model for architectural reuse, one that fosters continuity between making, living, and memory.

Text provided by the architects.

To create a natural texture in the building, materials such as washed stone, gravel concrete, granite cubes, textured paint and marine plywood are juxtaposed to infuse the building with life and a natural vibe.
Rough washed stone is used for the indoor bar counter, seating, and flooring, creating a simple, natural aesthetic. The gravel concrete flooring and gray washed walls complement each other, enhancing the outdoor feel of the space. The rough textures provide a non-slip surface for pets, while also offering the durability and stain resistance akin to outdoor natural materials. The retail display walls and movable furniture system are constructed using a collage of marine plywood panels, creating a warm and inviting atmosphere that complements the wooden ceiling. The clever selection of these materials, along with their natural weathering over time, will further enhance the building’s texture.

The design team incorporated a pet-friendly ramp as a visual symbol, integrating it with the architectural space’s functionality to create a memorable brand identity. The graphic elements, designed with a three-dimension feel and a sense of volume, further articulate the space’s iconic and fun identity. Various super visual symbols, crafted by the graphic design, seamlessly echo the concept of a shared space between people and pets. The three-dimensional visual design enriches the formal language in this community space. Blending functionality and symbolism, these symbols contribute to a more diverse and multi-dimensional brand image. The brand’s visual identity is further strengthened by using pet-sensitive colors, such as blue and yellow, which convey a lighthearted and fashionable vibe through the interplay of lines and planes. Combining brand symbols with space functionality, the design team crafted a series of branding materials, signage, graphics, and installations. A pet map at the entrance helps visitors better understand the spatial functions, while the door handle and business hours information are cleverly arranged to create an engaging three-dimensional graphic. This comprehensive brand design enhances the space with a stronger and more cohesive brand identity.

By cleverly utilizing the building’s height, the design team creates a two-story space that ensures brightness and transparency while diversifying the spatial functions. The overall layout is composed of three sections: the cafe at the entrance, the activity area in the middle, and the functional area at the back. This maintains the relative independence of each functional space, and also ensures an orderly circulation.

The cafe at the entrance is conceived as a landscaped courtyard, creating a continuous corridor that breaks the boundary between interior and exterior. A semi-enclosed landscape entrance is formed around a big tree, with the entire area wrapped in washed stones. These natural textures continually awaken the vitality in pets, bringing fresh energy into the space.

The middle activity area retains the original spatial structure, with a ramp connecting the pet activity areas on the first and second floors, forming a natural hillside that seamlessly integrates with the entrance corridor. The park-style bench seating arrangement maximizes space for pet activities. Natural light filters through the building interior from morning to dusk, creating a dynamic play of light and shadow throughout the day.

The functional area at the back consists of several stacked boxes. The first level accommodates the pet hotel and grooming rooms, with capacitive glass partitions that can be flexibly adjusted to display the grooming room’s work status as needed. The second level features office spaces and a pet photography studio, with the offices offering a panoramic view of the entire space for improved communication and management.

The furniture details within the space are thoughtfully crafted to provide a sense of security for pets visiting for the first time. Space is intentionally left under the seating areas to give small animals a safe spot to settle in and ease their anxiety in an unfamiliar environment. The suspended design beneath the movable central bench minimizes obstacles during play, allowing pets the freedom to run or rest.

Fixed small round tables, designed with the function of anchoring dog leashes, free pet owners’ hands, enabling them to chat and enjoy food at ease. The wall features pegboards, which serve both as retail displays and decorative elements. The space’s flexibility is further enhanced by fully movable furniture, allowing for easy reconfiguration to suit different pet-themed needs.

Text provided by the architects.

The central part of the Jingyang Camphor Court consists of a wooden cloister encircling the lush camphor trees, which establishes a unique atmosphere at the core of the complex. All new hotel programs such as verandas, guest rooms, conference spaces, and restaurants are arranged around and connected to this central cloister. site limitations, no other large public spaces other than the cloister could be created. The distances between the walls of the different volumes are very narrow, akin to the narrow width between the exterior walls of local vernacular buildings. By putting all buildings in close proximity to each other, an intimate, personal, and nostalgic atmosphere is created, with guests able to discover the different material tonalities arranged along a path, like wandering through a maze.

The hotel’s western area features a new courtyard-type building with the three buildings’ gable walls advancing and retreating to form small public plazas in front of them. From the exterior, these buildings’ subtle setback from the existing straight street draws the guests and public in. The entrance is located on the east of the site and has a deliberately low and unassuming profile, in accordance with the presence of trees and folded canopies. The subtle and human-oriented scale creates an intimate and welcoming atmosphere upon arrival. The hotel rooms are located in the old dormitory space, north of the central courtyard. Its walls were kept, while a new structure penetrates and juts out of the existing volume. Each hotel room has a balcony that faces the interior courtyard and the promenade spaces between the buildings.

The new restaurant is located in the former factory structure in the southern part of the site. The original side walls of this industrial relic were kept and thermal and sound insulation were added. Besides overall structural reinforcements, a new metal roof structure was added to increase the buildings’ safety. The ceiling height was also increased, and new skylights were introduced, creating a more pleasant and contemporary spatial atmosphere for guests while also paying homage to the site’s industrial past.

The bricks of the original structures had a red and orange hue. We wanted to honor this palette when opting for the tonality of the new buildings. Throughout the hotel, we used warm-colored concrete and a thin layer of tiles with a similar gradient. The external walls of the old and new volumes are a mix of kiln and old clay bricks and between the old and the new bricks, a warm-colored concrete is cast in place to create a harmonious transition between the preserved elements and those newly added. Their materiality, color, and texture are closely related to the history of porcelain production in Jingdezhen.

The Jingyang Camphor Court creates a new type of hotel experience with a publicly accessible courtyard that is as large as possible. Next to creating a tranquil and natural environment, the strategy of preservation, renovation, and revitalization of an existing warehouse was central for the arrangement and massing of new programs and creating a new and inviting atmosphere and future for this hotel.

Text provided by the architects.

The hot spring functional spaces are vertically layered in the tower on the west side, and the transportation and service program are set in the east core, connected by corridor-like bridge on each floor. The programs are vertically stacked up for reducing the building footprint and as well, creating a series of unique spatial experiences at different levels. As the visitors ascend, new relationships between the surrounding trees, rock cliff, and distant mountain landscape are respectively highlighted.

We allocated the main functions on three levels. An integrated teak box anchors the center space of the first floor to accommodate the reception, storage, locker room and showering functions before entering the bath. The second floor is a transparent relaxation lounge enclosed by floor-to-ceiling glass on all sides, located among the most-lush part of the poplar tree canopies. When the weather is favorable, the upper windows can be opened, introducing the fresh natural air, framing splendor natural scenery throughout the seasons.
The third-floor bath pools, at different temperatures and water treatments are distributed under eight light wells. When the skylight passes through the 8-meter-high wells, it becomes soft and quiet, diffused by the bush-hammered concrete. Through strip windows above the water surface on the west facade, people can choose to immerse themselves in the water or have a glimpse of the nearby valley cliffs with the flourishing treetop enveloping the building.

Text provided by the architect.

The design includes a few deserted agricultural buildings, such as utility rooms, cowsheds and barns. The design team hopes to transform the original buildings into a bookstore which provides space for tourists to learn about the history and culture of the village. Meanwhile, it also provide locals, especially children, with a place to get knowledge from the outside world. It is a great opportunity to indicate a well-known Chinese tradition called “Cultivation and reading is to bequeath to the family”.

‘Guang Yue Granary Bookstore’ and ‘Jing Ya Granary Bookstore’

In the early phase of site analysis, designers found that utility room and cowshed are very different in terms of spatial identity. The utility room is relatively tall with accommodated interiors , while the cowsheds are lower and darker. Several cowsheds are separated by rubble walls and second floors are used for storing forage originally.

Spatial differences and ‘flaws’ bring about the difficulty of retrofitting these existing spaces. In the mean time, it seems to be a dramatic element for reforming architectural narrative, which is just an interesting moment for the project. By using the characteristics of the original space, the design team defined the new building as a combination of ‘Live and Calm’ .

‘Live’ refers to the sales space in Boostore transformed by utility room. It is relatively active to be here when exchanging books and sales activities happen periodically. Also, cultural products designed by the team are sold at this corner. Reading Bar is regarded as a cultural window connecting the village to the world outside. Visitors can get to know more about the village while local residents see the outside from a physical window(a full height glass door facing to the village ) and psychological one. It is called ‘Guang-Yue Granary Bookstore’ .

In the opposite of the building, the original surface across the stream is a solid wall with a high window on it. However, the landscape is so nice to be seen from the building that designer added a platform inside, on which people enjoy the view. This design principle maintains the existing relationship between interior and exterior. Thus, when people stay inside, stream is kept invisible for enjoying sound only. If visitors still wants to see the stream, one step on the platform makes it a great difference. A full-height glass window is embedded in the other side of the building to generate a new relationship with its’ neighbor, the village, to provide a great solution for better natural lights.

‘Calm’ refer to reading and meditation, named ‘Jing-Ya’. It is transformed from former cowsheds. The identity of this space, connected but separated from top to bottom, is special to be kept. The lower level enclosed by rubble used to be dark and narrow living space for cow, while narrow wood-made upper level were used for forage. Wood structure seats on rubble part. Two levels are separated spatially (entrance are separated) but connected logically (cow on the bottom eats forage)in function.

Text provided by the architect.

This project is located along the old water channel in the northern part of the village. The old water channel, constructed in the 1960s for irrigation, stands abandoned today. The surroundings of the aqueduct are naturally wild and lush, creating a unique genius loci. During the initial design phase, we conducted surveys with villagers, and “memory’ was the most frequently mentioned word. These memories included recollections of the collective construction of the old water channel and fond memories of playing around the channel during childhood. Additionally, villagers expressed the need for a space to eat and seek shade during the summer. Therefore, we decided to transform this aqueduct into a comfortable public covered bridge for daily use.

To cherish the collective memory of the village, we preserved the original aqueduct, maintaining its original structure and the traces of time imprinted on its surface. On the body of the old aqueduct, we attached a lightweight wooden bridge body. The use of wood not only pays homage to the local tradition of Huizhou architecture but also enhances the intimacy between the new infrastructure and the villagers.

“The Covered Bridge on Aqueduct” utilizes prefabricated cross-laminated timber (CLT), a new material that offers advantages such as uniform stress distribution, high strength-to-weight ratio, and environmental friendliness. The bridge structure consists of 19 small cross-sectional interlocking units, forming a ribbed system intertwined with the old aqueduct. Each structural unit is composed of two independent X-shaped columns that support their respective roofs.

The roof employs lightweight corrugated panels, resting on the wooden structure. Inside the bridge, there are seats and two rows of reclining chairs, providing villagers with different options for resting and enjoying the view. In terms of construction, all components of the bridge can be lifted by hand, avoiding the need for large construction tools. All joints between wooden components are connected with bolts for easy on-site assembly.

Upon completion, the bridge serves as a respectful tribute and a reminder of a specific history in the village. It also provides a nurturing and gathering space for the village’s future, injecting vitality and vigor into the public life of Fengwu Village.

Text provided by the architect.

The owner envisioned developing a campsite here, using terraced steps to set up several groups of tents.To serve the campsite, fixed facilities were needed on the platform. However, due to construction restrictions, the early randomly erected sheds had already defined the outline of the new buildings.

For architects eager to freely sketch blueprints, this was initially disheartening. Yet, upon closer examination of these sheds, it became clear that the workers were experts in mountain living. They knew where the foundation was stable, where more sunlight could be welcomed, and where one could hide from the howling mountain winds. Furthermore, they deeply valued the chestnut trees on the platform, skillfully weaving the sheds in and out of the trees.

Inspired by this, we reimagined the site.The sight of the ground covered in chestnut husks during autumn was particularly striking – a rare, abundant expression of the Yanshan region. Thus, we named the new structure “Full Chestnut Terrace.” In ancient China, “terrace” was a vaguely defined architectural concept. It could be a place for people to view scenery or a way for them to engage with it. We sought to re-establish the connection between people and the landscape amidst the remnants of the original sheds.

In some respects, the construction of these sheds was quite arbitrary. For instance, the roof was constructed to align with the prevailing direction of rain and snow, opting for the slope that allowed the most efficient drainage. As for the materials, a simple and practical approach was adopted. Leftovers of other projects were used to assemble the façade. However, these expedients resulted in an unexpected lightness and simplicity, forging a sense of freedom in this mountain architecture. There was much to learn here. Thus, we prefer to call the entire process a “reconstruction.”

The western side of the building, before and after the “reconstruction,” where the west wall is a remnant of the Ming Dynasty barrier wall, now detached from the original site

Due to the constraints posed by the mountainous terrain, the entire complex was built with wood, combining the use of timber frames and wooden shear walls within relatively compact building size.

In the timber-framed sections, we deliberately avoided traditional wooden structural forms. For example, the plan used an even number of bays, the façades were asymmetrical, and for the overhanging eaves, we abandoned wooden structures in favor of lighter and more authentic steel construction.

The wooden shear walls were designed to showcase the logic of “envelopment,” endowing the building with a corresponding sense of weight. The upper roofing was refashioned with corrugated metal sheets, reshaping the building’s exterior. The details echo the form language of the original sheds, making this envelopment more in line with the material’s constructional context. We envisaged “Full Chestnut Terrace” as a contemporary wooden structure, with modern technological features as its underlying theme.

When the site was still occupied by sheds, workers would pick up yellow stones from old piles to construct threshold walls and foundations for houses. During the reconstruction, we used old red bricks salvaged from nearby villages and towns to unify the disconnected building units at the ground level. Various slanted walls redressed the building’s outline, stretching between the plateau and the woods, creating a man-made layer distinct from the wooden houses. This bestowed a certain commemorative quality, forming a “relic” of this era.

Over a thousand years ago, the painter Fan Kuan contemplated the wintry mountains and rivers of the North and created “Snowy Cold Forest Landscape.” A millennium later, a similar scene emerged in a valley of the Yanshan Mountains. Rather than deliberate design, this owes more to the original shed builders who found the perfect composition for the architecture.

Artistic conception is a description of the imagination and a habit of viewing that condenses countless experiences. We hoped to bring new forms to the architecture while integrating it with the land in a familiar way. I am particularly fond of the Qing Dynasty painter Li Shizhuo’s “Viewing the Painting.” In the painting, scholars raise their cups, trying to drink with the figure in the painting. The artist arranged the two figures, originally on the same plane, along an upward sloping axis, creating a slight upward gaze. I find this an ingenious way to view scenery. In the spaces of Full Chestnut Terrace, we have embedded many such relationships.

In fact, before Li Shizhuo was born, the poet Nalan Xingde had already been observing the scenery around him. Interestingly, he likely visited the Huanghuacheng area around 1680, his duty being to herd horses for the imperial court. It’s conceivable that he visited the valley below Full Chestnut Terrace, and the chestnut forests on the hillside he saw were probably more lush than what we see today. It was in that year, on an early winter dawn, that he wrote the famous “Dian Jiang Chun · Early View from Huanghuacheng”:

In the wee hours after the first snow,
The snowfall levels with the guardrail in the dawning light.
How boundless is the western wind,
I rise and don my robe to behold the sight.
In this vast expanse,
Unwittingly, I let out a deep, prolonged sigh.
When will dawn come,
As the morning stars are about to fade,
Geese take flight over the expanse of white on high.

I too have waited for dawn atop Full Chestnut Terrace, yet never witnessed geese flying up from distant sandbanks. Sometimes I wonder, how would the twenty-six-year-old poet have reacted if, on that clear morning, he had chanced upon this house among the mountain paths…

Text provided by the architect.

The original brick structure is composed of a main warehouse and three annex buildings, plus a courtyard garden. For projects like this, Neri&Hu’s strategy always begins with a thorough investigation of what parts of the building at present may be kept and restored, while any new additions should not only respect the existing, but also stand in contrast to it, so that a clear distinction may be drawn between old and new.

The design concept is inspired in part by the client’s main product, traditional Chinese style pastries often formed in a decorative mold — the notion that a container may hold or form the shape of its contents within. Here, a new cast concrete object is molded into the old brick shell, its various openings and negative spaces form the main retail, gallery and office spaces. After pouring the concrete and allowing it to cure, specialized craftsmen then bush-hammer it for a soft textural quality that both contrasts with and also compliments the old bricks. In certain moments, the new inner concrete will seep out and appear on the façade to fill in the voids or indicate new access points. The gap spaces between the new object and the original shell become flexible areas for a café and multipurpose lobby. The ground floor contains the exhibition area, the flagship store, the garden and the cafe while the second floor is mainly the head office.

Text provided by the architect.