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©田方方 Tian Fangfang
01
緣起
Origins
大約五年前，萬境設計開始接觸嵊泗的旅游開發項目。嵊泗位于舟山群島東北部的懸海之地，距離舟山本島約2.5小時船程，距離上海約3小時車船程，距離杭州約4.5小時車船程、距離寧波約4小時車客渡。盡管近年來已經開發了直升機和水上飛機航線，但相較于現代人普遍追求效率的度假方式，嵊泗的交通條件對潛在旅游消費的吸引力相當有限。
Approximately five years ago, WJ STUDIO embarked on a tourism development project in Shengsi County—a remote archipelago perched at sea in the northeastern Zhoushan Islands. The journey to Shengsi remains an expedition: 2.5 hours by ferry from Zhoushan Main Island, 3 hours combined land/sea travel from Shanghai, 4.5 hours via road and ferry connections from Hangzhou, 4 hours from Ningbo via vehicle-passenger ferries. While helicopter and seaplane routes have recently been introduced, Shengsi’s accessibility challenges modern travelers’ efficiency-driven expectations. This geographical seclusion inherently limits its appeal to mainstream tourism—a challenge that would later define our design approach for the Huanglong Island Lighthouse Hotel.
△嵊泗列島區位©WJ STUDIO
Location Map of Shengsi Archipelago
嵊泗列島的功能發展定位是融海洋文化與海島民俗風情為一體，以觀光游覽、休閑度假和科教活動為主要功能的列島型國家級風景名勝區，而黃龍島屬于嵊泗整體規劃的核心區域。設計團隊初次登上黃龍島，便被海島獨有的風貌深深打動：陡峭的巖石地貌塑造出蜿蜒的海岸線，峽灣之間散落著石砌民居，湛藍的海面上漂泊的漁船提醒著人們，這里依然保留著傳統的漁耕文化。幾經走訪與深入調研，黃龍島的困境也在設計團隊面前展開——黃龍島面臨著嚴重的鄉村空心化問題——島內年輕人多已離島，幼兒園與小學也已關閉，留守島內的漁民大多是老人。黃龍島不是個例，中國近三十年快速城市化進程在一定程度上加速了鄉村人口結構的變化，沒有新的產業投入，鄉村老齡化與活力衰退的后果在近幾年已初見端倪。
Positioned as a national-level island scenic zone integrating marine culture with island folk traditions, the Shengsi focuses on ecotourism, leisure retreats, and scientific education. Huanglong Island locates at the core development area. During the design team's initial site exploration, the island's distinctive character proved profoundly arresting. The steep rocky landscape has shaped a winding coastline, with stone houses scattered between the fjords and fishing boats drifting on the deep blue sea. However, Huanglong Island is facing a significant challenge related to rural depopulation. A substantial number of young people have relocated, leading to the closure of the kindergarten and elementary school. The remaining fishermen are primarily elderly. Huanglong Island is not an isolated case. China's rapid urbanization over the past three decades has accelerated changes in the demographic structure of rural areas. Without new industrial investment, the consequences of rural aging and declining vitality have become apparent in recent years.
△黃龍島原始村莊、地貌、植被分布©WJ STUDIO
Original Village, Topography, and Vegetation Distribution on Huanglong Island
海島鄉村的振興，是一個關乎生態、文化、經濟和社會發展的深刻命題。黃龍島擁有得天獨厚的自然景觀資源和彌足珍貴的人文景觀條件，為慢生活度假旅游提供了堅實的基礎，但單一的交通方式與空心化的現狀也為設計帶來了挑戰。我們如何把人吸引到海島上來，又如何把人留住，把珍貴的漁耕文化留住？
The revitalization of rural islands is a profound issue that concerns ecology, culture, economic development, and social progress. Huanglong Island boasts unique natural landscapes and invaluable cultural heritage, providing a solid foundation for slow-paced vacation tourism. However, the island's limited transportation options and depopulation present challenges for design. How can we attract people to the island and keep them there, while preserving its precious fishing and farming culture?
02
時間的三重維度
The Three Dimensions of Time
△杉本博司攝影作品
Photograph by Hiroshi Sugimoto
“今天人們看到的一切是否與史前人類一樣？”
隨著前期詳規工作的深入，設計項目的切入點變得越發清晰：如何保護和利用海洋的自然元素，如何將建筑融入原有海島漁村民居聚落，如何讓人真正地“走進”黃龍島？杉本博司所探討的主題，正是設計團隊在黃龍島最深刻的感受，也是整個設計項目生發的核心：時間。
設計以時間的三重維度作為核心概念展開：
· 自然的時間：海島風貌在自然演變規律下形成了獨有的地貌形態，是設計中最重要的基礎條件，也是整個設計最核心的場所精神。
· 歷史的時間：島民的生活方式和社會活動形成文化沉淀，如黃龍島獨特的原始民居聚落形態與漁耕文化，這些人類居住行為對海島空間產生的歷史性改造，以及由此產生的文化景觀層積過程，是設計的切入點。
· 人的時間：人作為第一視角，通過為每一位來訪者構建獨特的空間體驗，使海島再次擁有匯聚“新”島民的契機，從而在當代人口流動背景下重構對海島漁村的認知。
“Is what people see today the same as what prehistoric humans saw?”
As the preliminary detailed planning work progressed, the focus of the design project became increasingly clear: how to protect and utilize the natural elements of the ocean, how to integrate the architecture into the existing fishing village settlements on the island, and how to truly allow people to “experience” Huanglong Island? The theme explored by Hiroshi Sugimoto is precisely the deepest impression the design team has of Huanglong Island, and it is also the core of the entire design project: Time.
The design unfolds around the triple dimensions of time as its core concept:
· Natural Time: The island's landscape has formed unique topographical features under the natural laws of evolution, which are the most important foundational conditions for the design and the genius loci.
· Historical Time: The lifestyle and social activities of the islanders have created cultural layers, such as Huanglong Island's unique primitive residential settlements and fishing and farming culture. These human habitation behaviors have historically transformed the island's spatial structure, and the resulting cultural landscape accumulation process serves as the design's entry point.
· Human Time: From the first perspective and human scale, by creating a unique spatial experience for each visitor, the island gains an opportunity to attract “new” residents, thereby reconfiguring perceptions of the island fishing village in the context of contemporary population mobility.
- 自然的時間 -
Natural Time
在深入黃龍島的實地勘測中，設計團隊認真閱讀了黃龍島地表特征。黃龍島的輪廓并非溫和的弧線，礁石粗糲的肌理形成了浙江較為典型的折線的海岸線形態。巨大的礁石構成明確的高差，豐盛而茂密的植物幾乎覆蓋了每一寸巖土。由于常年經受猛烈的海風侵襲，島上無大型喬木生長，多為叢生低矮的灌木，以及海島特有的植物品種如：劍麻、 落葉海桐，及較少見的景天科植物。黃龍島屬北亞熱帶季風海洋性氣候區，氣候冬暖夏涼，溫和濕潤，雨量中等，全年多大風。春季濃烈的海霧常籠罩著黃龍島，天空和海洋完整地暴露在視野之中，卻又是朦朧的景象。
During the field survey of Huanglong Island, the design team studied the surface features of the island closely. The outline of Huanglong Island is a typical feature of Zhejiang’s coastline. Massive reefs create distinct elevation differences, with lush and dense vegetation covering nearly every inch of rock and soil. Due to years of exposure to fierce sea winds, the island lacks arbor trees, instead featuring clumps of low-lying shrubs and unique island plant species such as sisal, deciduous sea holly, andCrassulaceae family plants. Huanglong Island is located in the North Subtropical Monsoon Marine Climate Zone, characterized by mild winters, cool summers, moderate rainfall, and strong winds throughout the year. In spring, dense sea fog often shroudsthe island, creating a hazy yet captivating landscape where the sky and sea blend seamlessly into view.
△蜿蜒的海岸線、嶙峋的礁石與原生植被©WJ STUDIO
Winding Coastline, Rugged Reefs, And Native Vegetation
△黃龍島及東咀頭岬角區位與道路示意©WJ STUDIO
Location and Road Layout of Huanglong Island and Dongjutou Cape
在概念規劃階段，設計團隊基于對現存村落肌理、道路系統及自然資源的深入分析，選定了黃龍島東北側深入海中的東咀頭岬角作為酒店落位的關鍵，確立了以三個核心酒店組團——燈塔酒店、懸崖酒店、村落酒店——為空間錨點的布局策略。大樂之野·燈塔酒店選址與最東邊的礁石之上，基地原始地貌呈現出復雜的高差變化，場地最大落差近30米。在這里，海洋的潮汐進退與日升月落，四季流轉帶來的景色變化，讓自然的時間成為設計最核心的場所精神。
During the conceptual planning phase, the design team conducted an in-depth analysis of the existing village layout, road system, and natural resources, ultimately selecting the Dongjutou Village—a promontory extending into the sea on the northeastern side of Huanglong Island—as the potential location for the hotel. This decision established a spatial layout strategy centered on three core hotel clusters: the Lighthouse Hotel, the Cliffside Hotel, and the Village Hotel. The Lighthouse Hotel is situated atop the easternmost reef, where the site’s original topography exhibits complex elevation changes, with a maximum elevation difference of nearly 30 meters. The tides of the sea, the rise and fall of the sun and moon, and the seasonal changes create a landscape where the passage of the natural time, as the genius loci, generates the design strategy.
△東咀頭概念規劃©WJ STUDIO
Conceptual Planning for Dongjutou Village
- 歷史的時間 -
Historical Time
黃龍島又名“東海石村”，島上的石屋、石街、石景，是海島先民應對險峻地形的生存智慧結晶——民居依山勢層疊錯落，呈階梯狀盤踞巖脊。石砌村落里依然保留著傳統的捕魚文化，漁民們的生活與漁汛周期緊密相連。為了躲避猛烈的海風，所有民房以場地西南側的港灣為中心向外展開，個別房屋散布在主體組團之外，島嶼中部、西北部還有已經荒廢的軍事設施。現有東咀頭村村口處已建設市政混凝土道路經，但村莊內部道路均為1.5~3米寬不等的簡單水泥步行道。運輸條件簡陋，道路修理無序雜亂，但無序道路卻形成獨特的、與村落民居相互呼應的空間形態。
Huanglong Island, also known as “East Sea Stone Village,” features stone houses, stone streets, and stone landscapes that are the culmination of the survival wisdom of the island's early inhabitants in response to the rugged terrain. The dwellings are built in tiers along the mountain slopes, forming a staircase-like structure along the rock ridges. To shelter from fierce sea winds, all residential buildings radiate outward from the harbor on the southwest side of the site. Some houses are scattered outside the main cluster, and there are abandoned military facilities in the central and northwestern parts of the island. A municipal concrete road has been constructed at the entrance of Dongjutou Village, but the internal village roads are simple cement walkways ranging from 1.5 to 3 meters in width. Transportation conditions are rudimentary, and road repairs are disorganized and irregular. However, the original road system has formed a unique spatial form that harmoniously complements the village's residential architecture.
△沿山體分布的石砌民居與原生礁石融為一體©WJ STUDIO
The stone houses scattered along the mountainside blend seamlessly with the natural rocks.
由于大部分建筑已多年無人使用，植物覆蓋了道路和礁石，調研人員已經無法進入村落。顯然，村落的原始道路、水電等基礎條件并不能滿足現代酒店項目的施工、開發和運營條件。設計團隊深知歷史記錄保護與商業訴求之間深層的矛盾，為了避免黃龍島陷入“風貌同質化、體驗淺表化”的困境，設計最初的核心工作是讓肌理延續再生，其核心在于重構登島路徑。道路系統重構的本質上是對聚落空間結構的系統性調整，需要對現有道路網絡與總體規劃關系進行全面評估。后續整體開發工作必須基于開發可行性研究，重點考量未來功能需求、空間結構優化和分區合理性等要素。
因此，在規劃階段，道路系統作為整體聚落空間的基本骨架而成為設計工作的重點。設計團隊發現了數處有良好視野、獨具特色的標志性空間，并規劃了一條步行路線，引導人們從南港出發，穿過多個民居和村落聚集空間，逐步登上東北部的礁石，最終抵達燈塔。在這條步行路線之中，三個酒店的落位與原始民居之間的關系被清晰地梳理出來，這成為后續總圖設計的重要基礎。站在歷史的角度來審視設計的工作，是通過原有的風貌來鏈接未來的時間，讓歷史的時間延續。
Since most of the buildings have been unused for years, vegetation has overgrown the roads and reefs, making it impossible for the design team to access the village. Clearly, the village's original roads, water, and electricity infrastructure cannot meet the construction, development, and operational requirements of a modern hotel project. The core of the initial design work was to ensure the continuity and regeneration of the site's texture, with the focus on reconfiguring the access routes to the island. The essence of road system reconstruction is a systematic adjustment of the settlement's spatial structure, requiring a comprehensive assessment of the relationship between the existing road network and the master plan. Subsequent overall development efforts must be based on a feasibility study, prioritizing future functional requirements, spatial structure optimization, and the rationality of zoning.
Therefore, during the planning phase, the road system was identified as the fundamental framework of the overall settlement space and became the focal point of the design work. The design team identified several locations with excellent views and distinctive, iconic spaces, and planned a walking route guiding people from Southern Port, passing through multiple residential and village gathering spaces, gradually ascending the northeastern cliffs, and ultimately reaching the lighthouse. Within this walking route, the relationship between the three hotels and the original residential buildings was clearly defined, forming the foundation for subsequent master planning. From a historical perspective, the design work seeks to connect the future with the past through the existing landscape, ensuring that the continuity of history is preserved.
△原始村落布局測繪©WJ STUDIO
Map Of The Original Village Layout
△原始村莊道路與觀景點©WJ STUDIO
Original Village Roads And Viewing Points
- 人的時間 -
Human Time
設計團隊希望通過構建一個從登島開始的沉浸體驗，讓整個島嶼旅行呈現極其沉浸和豐富的感受。要達到這樣的空間體驗的效果，酒店之中要給人一種圖景式的體驗。在設計推進的過程中，人的視線引導與流線設計成為整個空間序列的關鍵。
The design aims to create an immersive experience that begins upon arrival on the island, ensuring that the entire journey is rich and immersive. The hotel must offer a scenic experience and the visual guidance and flow design become key to the entire spatial sequence.
©張錫 Zhang Xi
△燈塔廣場原始方案效果圖©WJ STUDIO
onceptual Sketch of Huanglong Island Lighthouse Hotel
©田方方 Tian Fangfang
從港口至酒店的核心路徑，作為空間序列的組織骨架，其走向與節點設置，系統性地引導來訪者的行進方向與視覺焦點。在路徑的盡頭，也是酒店空間體驗的開端，人的視線被精確地導向遠處的燈塔，使其成為空間序列的視覺錨點。路徑的流線組織與伴隨的視線引導機制，共同構成了空間序列體驗的關鍵性控制要素。
The walking route from the port to the hotel, as the organizing framework of the spatial sequence, systematically guides visitors' direction of movement and visual focus. At the end of the route, which also marks the beginning of the hotel's spatial experience, visitors' gaze is precisely directed toward the distant lighthouse.
03
形態：空間轉譯
Form: Spatial Translation
△黃龍島酒店概念手繪©WJ STUDIO
onceptual Sketch of Huanglong Island Lighthouse Hotel
©田方方 Tian Fangfang
酒店整體空間生成策略依循原始村落的空間尺度，并基于地形高差來組織空間秩序。島上原始民居的尺度多為60~180平方米不等，尺度較小。建筑材料以黃色磚石為主，結構強度較好，其布局均依地勢而建，朝向無特別強調。設計團隊將燈塔酒店定位為“輕介入”項目，以最小干預為核心原則。設計旨在避免建筑成為視覺主導物，而是使其作為自然地貌與既有村落肌理的延續部分。因此，建筑主體被錨固于三處原生保護礁石之間。這種布局方式使建筑體量以協調的形態融入場地環境，顯著弱化了人工構筑物在自然景觀中的存在感。
The overall spatial strategy for the hotel follows the spatial scale of the original village and organizes the spatial order based on the topographical elevation differences. The original dwellings on the island typically range in size from 60 to 180 square meters, with a relatively small scale. The primary building material is yellow brick and stone, which offers good structural strength. The layout of the buildings follows the natural terrain, with no particular emphasis on orientation. The design avoids the building becoming a visual focal point, instead integrating it as an extension of the natural topography and existing village fabric. Therefore, the main building is anchored between three original protected reefs. This layout allows the building's volume to blend harmoniously into the site environment, significantly reducing the presence of artificial structures within the natural landscape.
△建筑結構及主體示意，落在三塊原生礁石上©WJ STUDIO
Schematic Diagram Of The Building Structure, Main Body On The Three Natural Reef Rocks
©田方方 Tian Fangfang
燈塔酒店的建筑體量根據場地內礁石分布及陡峭地形進行組織，分解為一系列階梯狀錯位堆疊的模塊單元。這種階梯式布局策略性地適應了山體坡度，并生成了多角度的景觀視野。同時，該建筑群的體量形態與鄰近現存原始民居聚落的肌理形成回應。
The architectural massing of the Lighthouse Hotel is organized according to the distribution of reefs and the steep terrain within the site, decomposed into a series of staggered, stepped modules. This stepped layout strategically adapts to the slope of the mountain and generates multi-angle views of the landscape.The massing and form of the building complex respond to the texture of the adjacent existing primitive residential settlements.
©田方方 Tian Fangfang
現代建筑的體量與原始的礁石之間是另一種呼應關系。設計采用獨立基礎，將實體空間懸挑在礁石之上，將重量感進一步削弱。同時，建筑平滑的底面和礁石粗糲轉折的表面形成充滿特色的灰空間，給景觀增加了趣味性。
The volume of the modern building echoes the primitive reef in another way. The design uses isolated foundations to suspend the solid space above the reef, further reducing the sense of weight. The smooth bottom surface of the building and the rough, angular surface of the reef create a distinctive gray space, adding interest to the landscape.
△節點細部圖©WJ STUDIO
Detail
©田方方 Tian Fangfang
建筑群落順應陡峭的山勢，只有兩塊相對平坦的風貌礁石，酒店的核心區域便自然分成了A和B兩個組團，被一條沿山脊自然下跌的戶外步道串聯起來。設計通過“隱現-窺探-豁達”的感官節奏和“室外-室內”“室內-室外”的多重轉化，重構登島穿行的原始體驗。
行進路線的設計充分考慮了第一視角中空間序列形成的節奏感——步道順應礁石走向設置，片墻的使用為建筑空間帶來一層“隱現”的期待感；行至中途，錯落分布的窗口漏出片斷的海天光影，形成“窺探”的趣味；最終，路徑經旋轉樓梯引向開闊的戶外步道，視野驟然開朗——無垠的碧海、壯闊的礁群如畫卷般鋪展，眼前便是“豁達”時刻。
The building complex conforms to the steep mountain terrain, with only two relatively flat rock formations. The core area of the hotel is naturally pided into two groups, connected by an outdoor walkway that naturally descends along the mountain ridge. The design uses a sensory rhythm of “hidden-peek-open” and multiple transformations between “outdoor-indoor” and “indoor-outdoor” to represent the original experience of traveling across the island.
The design of the route carefully considers the rhythm of spatial sequences from a first-person perspective—the walkway follows the contours of the reef, while the use of partition walls creates a sense of anticipation as the architectural space gradually reveals itself. Halfway along the route, scattered windows reveal fragments of light and shadow from the sea and sky, creating a sense of “peeping”; finally, the path leads through a spiral staircase to a wide outdoor walkway, where the view suddenly opens up—the boundless blue sea and magnificent reefs spread out like a painting, and a moment of “openess” unfolds before your eyes.
©田方方 Tian Fangfang
A組團以巨大而空曠的巖石大廳為核心，歷經風化的原始礁石被保留建筑底面，建筑像個“罩子”來保護原始礁石，讓人有機會去靠近礁石的肌理。設計試圖模糊了“內”與“外”的絕對界限，讓空間本身成為一種引導觀看的媒介。四周墻面的處理讓參觀者在腦中聯想室外景觀，將其引入室內靜謐的空間，從而完成“室外——室內”的轉化。當陽光透過天窗灑落在粗糲的巖石上，人們可以在這里近距離接觸巖石的質感，感受到時間流逝下永恒不變的自然創造。
Block A is centered around a vast, open rock hall. The weathered, pristine reef stones are preserved at the base of the building, which acts like a “canopy” to protect them, allowing visitors to get up close to the texture of the reef stones. The design blurs the absolute boundaries between ‘inside’ and “outside,” making the space itself a medium that guides the viewer's perception. The treatment of the surrounding walls prompts visitors to mentally associate the outdoor landscape with the serene indoor space, thereby completing the transformation from “outdoor” to “indoor.” When sunlight filters through the skylights onto the rugged rocks, people can experience the texture of the rocks up close and feel the timeless natural creation that endures through the passage of time.
△巖石大廳剖透圖©WJ STUDIO
Section of Rock Hall
©張錫 Zhang Xi
©田方方 Tian Fangfang
©張錫 Zhang Xi
©田方方 Tian Fangfang
B組團客房單元的布局參照了島域現存村落的空間形態組織模式。客房由三個相對完整的體量組成，空間朝向與開窗設計策略性地響應冬夏兩季的日出方位差異，以框定特定的外部景觀視野。設計通過策略性設置的完整窗洞，建立了由室內向外的視覺通廊。這一處理增強了室內外空間的滲透性，并有效引入了自然光照、海風及環境聲。
The layout of the guest room units in Block B draws inspiration from the spatial organization patterns of existing villages in the island region. The guest rooms are composed of three relatively independent building volumes, with their spatial orientation and window design strategically responding to the differing sunrise directions in winter and summer to frame specific external landscape views. Through strategically placed full-height windows, the design establishes visual corridors from the interior to the exterior. This approach enhances the permeability between indoor and outdoor spaces, effectively introducing natural light, sea breezes, and environmental soundscapes.
©張錫 Zhang Xi
©田方方 Tian Fangfang
在客房尺度的設計上，人的尺度和體驗再次成為時間詮釋的關鍵。當人的目光穿過一個干凈完整的窗洞，陽光漫進室內，海風撲面而來，濤聲瞬間涌入耳膜，完成了“室內——室外”的再次轉化。當人停留在任何一個框景之前，時間也停了下來。
In the design of guest room dimensions, human scale and experience once again become key to the interpretation of time. When the human gaze passes through a clean, unobstructed window, sunlight floods into the room, sea breezes blow in, and the sound of waves instantly fills the ears, completing the transformation from “indoor to outdoor.” When a person pauses before any framed view, time also pauses.
04
結語
Summary
大樂之野·黃龍島燈塔酒店的設計是一次對鄉村更新的思考的契機。更新的本質是對時間記憶的重新編織與活化，因此，設計的介入不是用鋼筋水泥覆蓋過往，而是在順應潮汐吐納，閱讀漁火人間，思考海天永恒的基礎上，將當地原有的生活生產場景轉化為可體驗、可共情、可持續的當代敘事，將海島空心化的危機逆轉為以深度體驗為核心的新型海島特色生態旅游發展的契機。
The design of Lost Villa · Huanglong Island Lighthouse Hotel serves as an opportunity to reflect on rural revitalization. The essence of renewal project lies in the reweaving and revitalization of time and memory. Therefore, the intervention does not involve covering the past with steel and concrete but, instead, it transforms the existing local living and production scenes into contemporary narratives that are experiential, empathetic, and sustainable, turning the crisis of island depopulation into an opportunity for a new form of island-specific ecological tourism development centered on deep experiential engagement.
©田方方 Tian Fangfang
©大樂之野 Lost Villa
—
項目圖紙 Drawings
△總平面圖©WJ STUDIO
Master Plan
△立面圖©WJ STUDIO
Elevation
項目信息 Project Info
大樂之野·黃龍島燈塔酒店
Lost Villa · Huanglong Island Lighthouse Hotel
項目地點：浙江舟山
竣工年份：2025
項目類型：酒店
建筑面積：5000㎡
業主單位：舟山嵊泗大樂之野酒店管理有限公司
詳規&建筑設計&室內概念設計：WJ STUDIO 萬境設計
主創設計師：胡之樂
設計團隊：金怡然、楊曦、劉宇翱、黃姝斐
結構深化：彭翥
給排水設計：吳旭
電氣設計：方偉剛
暖通設計：周杰
概念規劃：城理設計Urban Fabric
室內設計：實在建筑設計工作室
施工單位：上海野有筑裝飾工程有限公司
項目攝影：田方方、張錫、大樂之野
視頻拍攝：張錫、方方的田
視頻剪輯：張錫
Location: Suzhou, Jiangsu
Complete: March 2025
Typology: Hotel
Building Area: 5,000 m²
Client: Zhoushan Shengsi Lost Villa Hotel Management Co., Ltd.
Master Planning & Architectural Design & Interior Conceptual Design: WJ STUDIO
Principal Designer: Hu Zhile
Design Team: Jin Yiran, Yang Xi, Liu Yu'ao, Huang Shufei
Constructual Design: Peng Zhu
Water Supply And Drainage Design: Wu Xu
Electrical Design: Fang Weigang
Heating And Ventilation Design: Zhou Jie
Conceptual Planning: Urban Fabric
Interior Design: SZ-Architects
Construction Company: Shanghai Yeyouzhu Decoration Engineering Co., Ltd.
Project Photography: Tian Fangfang, Zhang Xi, Lost Villa
Video Shooting: Zhang Xi, STUDIO FF
Video Editing: Zhang Xi
來源：本文由WJ STUDIO 萬境設計提供稿件，所有著作權歸屬WJ STUDIO 萬境設計所有。
本文版權歸腿腿教學網及原創作者所有，未經授權，謝絕轉載。
下一篇：[db:標題]
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