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 museum tends to form an innovative artistic spatial atmosphere through the comparison between the roughness of the cast-in-situ concrete and the exquisite space formed by the paralleled barrel vault structure. The barrel vault structure implies an integration of inside and outside, while perfectly integrating into itself the lighting system.As for circulation, the lobby (exhibition hall) connecting the square, to which the barrel vault structure directs, marks the prelude of the spatial sequence. With a helix movement the visitors ascend, layer by layer, in the enclosed structure, and ultimately reach the exhibition room on the top floor, where the prospect of Feng Mountain suddenly burst into through the opening and the orientation of the structure is also in line with the view. Thus not only a spatial trilogy has been accomplished, but the structure orientation has firmly linked and directed to the landscape.The south façade of the museum was also disposed as a series of slightly concaved curve, as if it were the external extension of the inner vault structure, constituting the frontality of the museum towards the square.

Combining the museum lobby with cultural and creative space such as café and art store, a unique place of entrance comes into being with the reservation of historical heritage to its full extent, involving an obsolete boiler, a grand tree, a bathroom and previous boiler plants. The terrace of the lobby is thus given the form of a bleacher, becoming a possible stage for potential public events in the future.

Text provided by the architect.