Hills Epic . Town of Angels . Anji

Life is a very important thing.

House of the Mountains: One Side of the Mountains, One Side of the Life

Throughout the 30-year history of commercial housing development in China, 'home' has been seen not as a fixed and unchangeable concept but as a social-spatial unit constantly being constructed. The spatial imagery and perception of 'home', and the resulting functional identity of comfortable space, the social identity of elite space and the emotional identity of family space have demanded an organic combination of leisure, social and everyday attributes of living space.

The Anji-Mu Yungu-Heshan Realm project is located in Angel Town in the western part of Anji County, Zhejiang Province, about 15 minutes drive from Anji Station, surrounded by mountains and an ideal natural environment, and the buildings of the whole group are mainly townhouses. Based on a thorough sorting and analysis of the target customers, WJ STUDIO has fully reflected on the construction of the living space and completed the interior design work for two types of model houses.

Living spaces outside the city require the designer to start from the user's expectations of life, and the character and functional needs of the space need to be defined more broadly. We have redefined the space user, hoping to place a physical vehicle for the living space outside the city, incorporating work, living and collection functions and allowing the mountains and verdant hills to flood into the interior.

Lifestyle is the starting point for all scenarios.

Whereas the first home is a space that exists to meet the needs of daily life, food, clothing, shelter and transport, the second home gives a richer emotional connotation and a unique symbol to 'home'. The second home embodies a form of travel away from modernity and the need for diversion, a regular, repetitive and cyclical way of living that demonstrates a desire for identity, emotion and authenticity. The journey of living in a second home is a process of deconstruction and reorganization of 'home', which, together with the initial home and the fluid space, forms a 'home'.

The Four Hills, the Thing in Mind

In addition to practical functionalism, the second home emphasises the spiritual satisfaction of the user, using space to respond to the individual's extremely self-conscious view of 'things'. The earliest Chinese villas were also known as 'Bie Shu', the word 'Bie' meaning 'the second'. The concept of a second home in ancient China was often a compound or residence built by the literati outside the beautiful mountains and forests. The cultural characteristics and spatial types embedded in traditional Chinese architecture were contained in a complete landscape poetry and painting system.

Our design concept for the second home is based on this landscape poetry and painting system.The second home is designed for the elite in the industry, who live in big cities, have specific economic power and social status, and wish to enjoy a holiday in a natural environment outside the city life.

At the same time,the architectural language and spatial design of House Type 1-1 continue the intertextual relationship between the interior and exterior of the traditional garden, with large glass openings that dissolve the boundaries between the courtyard and the interior.

The first floor spaces are organised around the large living room. The backdrop of the two-storey raised experience living and dining room continues the flamed wood of the studio, and the various functional areas are visually continued to create a sense of unity.

The breakfast counter allows the kitchen space to expand into the living-dining room, with the two spaces both separate and interconnected. A freestanding hanging fireplace creates interesting little scenes, and blinds allow natural light to penetrate the interior and allow for a continuous experience of the living spaces on the first and first floors.

The texture and weight of life are often hidden in the details. The texture of the velvet surface of the single armchair, the texture of the abstract painting on the themed wall, the warmth of the sunlight pouring into the living room, everything speaks of the state of mind of the mountain.

The first floor is an inward-facing lounge space. The design continues the choice of materials used downstairs and strengthens the heritage of the space. In the master's bedroom, we have used the corner windows to create a transitional space that serves as a second living space for the users.

For those who drive, the first floor is the more commonly used entry space and the starting point of the spatial sequence. The sculpture beneath the stairwell hints at the artistic ambience of the entire residence.

The personal studio is placed in the basement in the most critical position. We have removed as many superfluous decorative elements as possible.The black flamed wood and beige hand-scraped lacquer set a neutral, sensible colour tone, with brilliant film and linear fixtures that give an understated warmth to the intermediate colours of the wood veneer and bronze stainless steel.

The sunken courtyard brings in diffused natural daylight, making it quiet and introspective enough. A lounge area on the negative level is integrated into the interior landscape, and an audio-visual room and family room on the mezzanine level give the ground floor space a layered feel.

A place to hide in the woods

"Hiding" is not an attempt to escape from the reality of life, but rather a better pursuit of one's state of being, which allows for the transition and connection between life, work and society in a new way, balancing the smoke and mirrors of the city with the natural flavours of the countryside.The basement section takes on assisted living and leisure as a first home.

A curved wood veneer is used in the ceiling section of the ground floor space, allowing the viewer to continue towards the outdoor courtyard. The dark interior stone and large light fixtures bring an understated, luxurious feel to the open plan living and dining areas.

Extensive wood finishes in the first-floor bedroom create a warm, relaxed living atmosphere. The bed faces the floor-to-ceiling windows, allowing you to sleep with the stars in your eyes every day and melt into the view of nature the first minute you wake up in the morning.

In addition to the laundry room and the nanny's room, the painting and calligraphy room on the damaging floor becomes the centre of gravity of the entire ground floor space. The warm curry carpeting neutralises the geometry of the classic modernist furniture, and the plants in the sunken courtyard make it a unique meeting place for guests.

The family room on the mezzanine uses wood veneer panels to unify the visual feel with the study's high walls and enhance the centripetal nature of the ground floor space.

Greentown Sanjiangkou City Exhibition Hall

Ningbo, a port with a long history, a city with vibrant hustle and bustle of life, is a unique place where design should not only focus on the sense of ritual and value, but return to human life - to find the scenes from everyone's dailylife, to contain the softness and sharpness of the city, and to integrate the character, aethetics and spirit of the locality.

As the earliest foreign trade port in Ningbo, Sanjiangkou is not only a place where merchants gathered, but also a symbol of the Ningbo urban development.

Sanjiangkou witnessed the history of Ningbo, and carried the memories and nostalgia of Ningbo people - it is always a topic among the older generation.

Greentown Sanjiangkou City Exhibition Hall is located at the intersection area of Daqing South Road and Xinma Road in Ningbo, an extension part of Sanjiangkou.

Considering the unique significance of Sanjiangkou in Ningbo, WJ STUDIO hopes that this project is not just a formalized real estate sales center, moreover can reflect and integrate diverse culture, such as Shanghai culture, Hongbang culture, and traditional culture in it; and finally becoming a space for both commercial and cultural communication.

The architectural style of the entire exhibition hall continues the style of surrounding cultural and historical architecture, using many traditional architectural elements. Based on this, the interior design combines modern design style with humanistic urban atmosphere, to construct a space with urban cultural attributes.

Besides the functions of sales office from display to sale, it also can serve as a community supportive social space, that brings abundant scenic and aesthetic experiences.

Although the space is not very big, it has the basic function of sales office, and also includes more derivative functions, creating a diverse and integrated spatial experience.

The first floor is designed in a casual and relaxed way, so that the interior space can naturally combined with the outside streets, and has a better view in the corner space, overall optimizes the space experience.

The second floor has more social attributes. Besides the function of sales office, it also serves as a brand output and activity venue, as well as a displaying space for subsequent cultural life.

At the same time, the project design boldly integrates traditional aesthetics and techniques, gives a feeling of affinity without losing overall aesthetics sense.

In terms of color, the design applies the color tone in Ningbo traditional Hongbang cultural clothing ——cyan, vermilion and black.

In terms of spatial form, deconstruction is applied in the design to reinterpret the form of traditional roof and wood structure, and reconstructs the relationship between main body, interior and roof.

Yuyao Minglu (Clubhouse)

The project is located in Yuyao, Zhejiang province, bordered by Houqing River to the north and the former residence of Wang Yangming (the leading figure of the Neo-Confucian School of mind) to the south, and adjacent to the Wusheng Gate historic and cultural zone, the birthplace of the Yaojiang School (Yangming School of Mind) and the Zhedong School (Eastern Zhejiang School).

As a venue for branded events and reception, this project has multiple functions. The designer has abandoned elaborate decoration and focused more on the experiential quality of the interior space itself by transforming the traditional Chinese woodwork with a modern language and creating a space filled with diverse elements.

Enclosed with dark wood finishes and light-colored walls, the traditional wooden structure is dismantled into simple geometric elements,which creates a layered spatial experience with a sense of linear wooden frame through the entire house.

The use of different shades of light and texture in the minimalist color-blocking design, integrated with geometric elements with a feeling of movement, creates a calming and dynamic space.

For instance, in an unnoticed corner, you can see the long strip of light exists with the large rough stone and mysterious black iron plate,which in general breaks the quiet and elegant atmosphere in the space.

Through the dark brown wooden steps to the second floor, and a private round box with a wooden door, you can see a Chinese folding screen with a frosted texture. The design of the clubhouse tries to achieve a balance between modernity and tradition, simpleness and sophistication.

The wooden lines hanging from the top are interspersed with rounded corners, creating an environment filled both with rigidity and flexibility.

The large wooden elements used, together with the interspersed linear metal elements, give the whole space a rustic and delicate touch, while remaining minimalist and light. The simple geometric elements, the subtle hues and the natural material texture have reconstructed the quality of the space.

"A pine grown greener with the rain, a brook that comes from a mountain source- and, mingling with Truth among the flowers, I have forgotten what to say." This is a fragment from a poem by Liu Changqing in Tang Dynasty. The designer borrows the name and connotation of the clubhouse from the final couplet to emphasize that, when a man is questing for something in the world of physical reality, he can rest with a self-examination when returning to his house.


Yuyao Minglu (Model Room)

The world changes, out with the old and in with the new. The project, built in two old houses with traces of the past, creates a poetic habitat of a modern life with a bit of a lifestyle among traditional Chinese intellectuals, which is free from the mundane details. The living space is reshaped, where Yangming's thought is reborn.

A sober and independent lifestyle indicates a reflection on the relationship between the self and external world. The design of a home is to life what a nest is to a bird, it is a place to rest after a long day of "flying". Therefore, how to create a resting place where one can think freely and observe the external world at the same time becomes the focus of the design.

The sitting room in the first floor features a mixture of vintage carved windows and lighting embedded in a square grid of the ceiling, where visitors can look out onto the courtyard and enjoy the conflicts, fusion and overlap of the classical and the modern views.

Round-shaped side tables and coffee tables are interspersed in a clean, linear space, where the straight and curved lines are set in contrast.The chairs made of leather and felt add a sense of movement to the orderly space.

Located under the sloping roof of the original structure, the master room on the second floor is a soft and cozy modern space. The light-toned wood finishes and a few metallic and glass elements, illuminated by the warm wall light and roof light, overlap to create a pure, elegant and calming retreat of modern life.

In the underground floor, where the living room is located, the whole space is decorated with lines that link different rooms, where the family members can feel companionship, being connected while being independent of one another.

The entire 4-meter-high space is filled with gentle light that comes from the PVC ceiling, blending together different spaces.

The use of natural and rough materials in the living room makes a striking contrast with the modern materials. For example, the natural coffee table, and the walls made of the light-colored wood planks and dark-colored stone slabs make the owner feel a touch of nature, as if hewere in a wilderness of sheltered modern lifestyle.


In contemporary context, people’s understanding of the sales center is no longer obtaining a single function of sales. It is expected to contain multiple elements and lifestyles.

Located in the North side of Hangzhou city, the design of Xifang Liang Yu Yman sales center aims to provide interactive real life scenes while fulfilling the demand for sales working. Forming its own culture tag through design refines the future portal of the community and then nourishes every individual who lives inside, so that they can integrate into life, immerse and experience the fun of every moment.

The design has a mature pre-consideration for the future function of the space: in the early stage, it undertakes the display function as a sales center, and in the later stage, it will become the main entrance of the community. Therefore, it is particularly important to create a sense of home returning ceremony and a sense of ritual order.

The sense of ceremony brought by the symmetry raises the attention of the visitor after they walk through the long gallery from the entrance. The framed view of the main entrance brings the infinite scenery within a limited scale.

As people step into the space, the open, comfortable and transparent feeling runs through the overall atmosphere.

The meeting room is designed in a clean and minimalistic design language. The geometric outline of the space can be easily sensed. The floor-to-ceiling windows with panoramic views create a conversation between indoor and outdoor, and the lines above the windows intentionally depress down and limit the field of view to the most appropriate scale.

The space can be formed and shaped by light, a kind of artistic method.

At the project model display section, all light sources are carefully designed to diffuse and reflect, creating a sense of grace and freedom. It helps guide visitors to appreciate and explore the site patiently. In detail, light with a strong sense of structure is embedded into the space in the form of copper pipe.  This design fulfills the needs of illumination and enhances the refinement of the details.

Although the designer uses geometric segmentation techniques to accurately depict the space from line to surface, it does not give visitors a feeling of intensiveness.

The combination of light green color and complementary color acrylic on the wall sets up the comfortable and easy tone, embellishing a light and chilling space. The loose separation of different sections creates flow and continuity, bringing people both clearity and security like walking into the lobby of a luxury hotel. Visitors can slow down and have conversations with others anywhere and anytime. Aside, scenery from outside is close to visitors, reflecting and revealing the vitality from inside.

The wooden staircase shares a strong feeling of sculpture. It is the main vertical transportation hub but also the center point of the space. The design of chamfering and curves makes the sculpture-looking stairs softer.

The tentacled wooden surface makes people feel warm while interacting with the stairs. Beside the stairs, the usage of the sandstone-like marbles are selected by generating the elements from nature. This design is intended to bring back the brutality feeling of the stone, creating dialogue between nature and indoor space. It also allows visitors to interact with it.

The space creates a small environment within ecology. From overall planning to detailing, the design can be perceived as the posture of daily life as well as the expectation of future. The design creates unlimited imaginations with advanced thinking of methodology and material selection, moulding a habitable, interactable, space with a strong spirit and a sense of reality.

Chengyuan Living Museum

"There is a garden in the house, a house in the garden, a courtyard in the house, a tree in the courtyard, the tree can see the sky, and there is reading in the sky, it is not easy!"-Lin Yutang, "Twenty-Four Happiness in Taiwan".

Mr. Lin Yutang's house with a yard is the most ideal living place in the minds of every contemporary people. In our hearts, everyone has his own corner of the ideal yard, where there are flowers or simple. "Courtyard" and "garden" are indispensable architectural symbols in the construction of traditional Chinese housing. Courtyard and garden are not only a home, but also a long-standing cultural complex of Chinese people, which reflects people's pursuit of spiritual and personal space.

The project name "Cheng" is the design inspiration, paying tribute to traditional Chinese culture with "Garden within yard" and "Yard in garden" , deducting with modern design techniques, and constructing Oriental aesthetics.

We hope that there will be no separation between the interior and the building, and the outdoor landscape will be extended to the interior, one scene at a time, and the water will alternate between the interior and the exterior.

The high consistency of interior, architecture and landscape also makes every visitor perceive the path like "garden", which is the pattern of light, landscape and line. They are independent and form each other.

The curvilinear cutting at the top also gives the original space more expression.They are quiet or soft, and the reflection of the large area of glass and the outdoor water is also a manifestation of the supreme life concept of chengxin. Such a space should not be felt in isolation, but should be viewed from a more comprehensive dimension. These cut planes also combine to create a new space and make the whole space derive more possibilities.

The functional areas of the space unfold slowly in the space like a picture scroll, which satisfies the practical functions of the living museum and also allows aesthetic considerations to exist in the space. More importantly, the main line of the design runs through the space. The upper and lower Spaces are just like the tension and relaxation in life. It is also the separation and separation of functions.

In the designer's opinion, even if the space needs to meet the practical function, it should also be rich in regional and cultural belonging, and the richness of space superimposed with functions, with a sense of interest and ceremony.

The outdoor waterscape reflects the changes of the sky and clouds, and the water moves when visitors walk around. In the room, you can see these dynamics and changes. The water is not only the landscape of the garden, but also the landscape of the space. Dotted with rocks from Huangyan, it is an experience of living in harmony with local culture. There may be some reflection in the water, flowing away with the water, just like the word "cheng", pure and beautiful.

With a new understanding of life and the definition of a good life, we also opened an idea about chengyuan living space, which fits the contemporary living concept.

The space meets the multiple needs of the home, and the space is planned reasonably so that the users of the space can blend into the space and the living conditions, which is more in line with the comfort and leisure of the second residence.

The house is the container of life, and life is the whole meaning. Design is not only thinking in this space, but also transferring the concept and aesthetics of space to every visitor.


The Osmanthus Grace


This project locates at the back of Cui Wei Mountain, facing Ou River. The owner would like to see an ideal residence being built here with the help of a quality urban lifestyle and great scenery with local culture.

By defining a series of sub-spaces which have various scales but interact with each other well, the designer establishes the episode of introduction, development, and bridge, passing out the atmosphere of simpleness Time and space are evolved throughout the project, blurring the boundary of architecture, and combining humanity and nature. Therefore, the project is a perfect response to traditional Chinese gardens.


Mixing into the scenery is the special attribute of traditional Jiang Nan gardens. The space is built according to water scenery, guiding visitors to interact with the nature and taking them to join the landscape. The entrance of the project is designed relatively narrow after the adjustment of the architect to create a calm atmosphere and to show the nature most.

“We wish every visitor can feel the calmness of time and interact with nature.” Walking circulation transforms from dark to bright, enriching light levels in the space, establishing atmosphere of great mountains in limited space.

Space Analysis

The building is in linear shape, with a part sightly reaching the water. The inclined ceiling designed with directions lower the sights from visitors and guide them to nature. The sunken part in the building adds the independence and boundaries of meeting zone. The process of lowering sights draws visitors closer to the landscape, creating the dialogue between human and water, and setting resonance of reality and imagination. Façades with the shape of long paintings are crystal clean, eliminating the boundaries of indoor and outdoor. Time reveals its trace of flowing when four seasons are changing, and when days and nights are altering. Nature, becomes the main theme everywhere in the project.


Main materials are selected as wood, stone, and plant, for they are the elements of nature, to decorate the space. Simpleness are emphasized through various levels.

With unique characteristics, art pieces that reflect regions and history both represent different humanity themes and label themselves as signs of the space at the same time. The flexibility eliminates boundaries.


The project is designed with great flexibility for renovation in the future. It also reserves space for kindergarten. In the future, this building can still fit into different scenarios even if its users and functions are not the same.

The LOFT in The Sky City

The younger generation, for independent multi-functional space requirements more and more intense, more can reflect the diversity of space design in the future of a new generation of young people in the future the demand and desire of life, where they can find the possibility of more in the future in this space, we also hope to be able to present a small space in the home, this space is not only the concept of the traditional family, is the contemporary young people an accommodation space of imagination.

The LOFT in The Sky City is about the imagination of young people. Under such a background, the designer hopes to create a living and working space that meets the needs of young people to solve the living space problems they encounter in living, based on the multi-format life circle that meets the living needs of young people through spatial relationship.

In the design, we focus on thinking about breaking boundaries, presenting different cultural backgrounds and artistic forms for young people to gather in communities, live freely, enjoy the present and explore the future together.

Shangyu Jiangnanli Showroom

In China, mansions are measured with the numbers between entrance to the main room. The family is the basic unit. Chinese do not like to display wealth, so they build high walls around their mansions. In our ancestral houses, gardens were built for pleasure, and it with very simple design of black or red back doors, and grey tile white walls.

Leohming Pei

Shangyu Jiangnan Li, is adjacent to the World Cultural Heritage Grand Canal to the south, Xiaoshao lake to the north, in the river intersection, Cai Yong, Xie Lingyun, and Li Bai have all visited the river across the weir.

Since the Spring and Autumn Period, the natural landscape of Shangyu has been built with ancient land roads. Xianzhi Wang praised that walking from the mountain to the vagina, the mountains and rivers are mutually crossed, making people overwhelmed. The coexistence of humanity and nature has always been praised by scholars.

At the beginning of the design, we were thinking about how to integrate the ancient symbiotic state of nature and the Chinese vision of the traditional garden at the same time; building a personal spiritual world, where people living in the garden, wandering in the nature.

A good courtyard mansion should be integrated between the landscape and architecture in space, and it should be brought the joy of life by space of nature. Therefore, in Shangyu Jiangnanli, the designer hopes to redefine and present the modern life via the integration of space and orders.

To open the underground space and let nature and sunlight enter.

Through the way of earlier intervention, the designer reconstructs the meaning of the underground space. The definition of home has changed from a single fixed space to a more diversified third space, making the underground space a place where real life can happen.

The underground space includes the reception room, the tea room and the third space in the true sense. The french window on one side allows nature and light to enter and this is the typical design of Chinese-style courtyard house in believe of coexisting nature and spirit in one space.

The hollow space allows the sunlight to enter the room better. The entire space is treated with light to make the entire underground space full of temperature like the ground floor.

All the spaces and furniture here follow a design principle that allows the whole to penetrate into the details. Whether it is a modern shape from a traditional shape, a delicate closet or a traditionally refined dark red, it is exactly where each one belongs. Everything is related to the space, life and nature.

The first floor is a space that reflects a fixed lifestyle. In traditional understanding, a living room is separated into up hall and down hall, one is for ceremony and the other is for family life. It connects the outdoor yard, and makes a peaceful without losing the sense of ceremony.

However, in this design, we rebuild it and integrate it into the modern lifestyle. We create a natural and harmonious living atmosphere. You can sit in the sofa and have a panoramic view of the nature state of the plants and trees in the courtyard.

The exquisite glass lamp on the top makes the space more integrated. The contemporary design style is integrated under the traditional courtyard house, it reflects a modern Chinese lifestyle. In addition, the mixed furniture makes people feel this design principle profoundly.

On the second floor, the bedroom is the most private space for family. The bedroom needs to enter through living and leisure area, so that the need of privacy can be better considered.

The bedroom also needs to reflect its living space in a quiet state. The combination of walk-in closet and reasonable design of the main bathroom allow the space to have more complete functionality and daily life to be carried out in an orderly and quiet manner.

The bedroom's color is always unfolding in the traditional Chinese colors. Gold, lapis lazuli and dark red reflect the nobleness of traditional Chinese style without losing its fashion.

The words and ornaments in the wall paintings also correspond to the gardens. The preface of Lanting Collection is the true portrayal of the comfortable life in traditional China, which coincides with the design and concept of the Chinese style courtyard house.

Jiangnanli is more than a modern style, it is the courtyard house design about time.

Maybe we can no longer experience the way people used to live in such a homeland in ancient times. Whether we can use a new space to reflect their spirit, not only to abide by their freedom and grace, but also in a more real, more concrete, more modern design.

Dangui Garden

The biggest difference between private residence design and commercial space design is the meaning of home, because home is a place where we feel warm, a place where the owner presents his or her private lifestyle.

Dangui Garden House is located in Hangzhou, a famous travelling city in the south of the Yangtze River. It is a transformational residence project. The owner is a family of six people, three generations. They have a high requirement of life quality. Our design started with knowing their living habits and hobbies, whether they have parties often, or they like reading, or they have collectibles. We even learnt the attitude of the owner to the material, their pursuit of aesthetic and so on. All the design ideas are based on their daily life.

In this world of reinforced concrete, people’s desire for nature is getting stronger. Our design follows the principles of nature instead of decoration and style. When we were dealing with the small courtyard on the first floor, the old pomegranate tree in the original courtyard is well preserved. The courtyard under the sun is full of green, which brings a sense of peace.

In order to conduct sunlight into the indoor space, we expanded the living room, and set a glass wall. At the same time, the fireplace is placed in the core area of the living room instead of a traditional TV background wall. On the one hand, it meets owner's hobby. On the other hand, it also provides heating in winter.

In the space and function layout, each design detail shows the humanized design thinking. In order to enhance the privacy of the entrance, we have transformed the original entrance, added stone walls, and formed a cascade perspective. According to the owner's preference for red wine collection, we designed a large wine cellar and a tea room at home. In the bedroom and other space design, we use white as the main tone, and logs, paints, stones as the main materials. We did not use too much decoration to fill the space, but to adopt the principle of comfort and conciseness to match, to create a relaxing and elegant living space.

In the designer's view, space is full of vitality because of the use and participation of people. We hope to reserve more continuity possibilities of space for users at the beginning of design. As the years go by, space will be endowed with life and soul.