In recent years, the homestay market is oversaturated in the Beijing area with intense competition which causes the flooding emergence of a lot of “Mount Mogan-like” homestays that are copying and intimating each other, as if looking at mirrors. However, Beijing, where is a cultural art center, should keep its diversity.

This project locates in Sihai town, Yanqing District, Beijing. It is called “Four Season Flower Sea” because the site is surrounded by flowers which filled the whole mountain areas. The building is in a very regular form: it has a four-sided room, a corridor-surrounding courtyard, and the column frame which create an atmosphere of stability. It is surrounded by traditional local housing on four sides with the only entry perpendicular to the main road. Neighboring housings distribute relatively loosely. And the small courtyard belonged to the owner behind the project was transformed into another homestay. And this project also incorporates a path leading to the other homestay.

The design of architecture tries to break the original circulation to provide various interesting spatial experience for the people walking within and to create changes in light and shadow. Therefore, we insert two high walls into the internal space to form a wonderful and compelling space starting from the entrance.

The foundation of the original building was relatively high so there is a big difference between the heights inside and outside. To prevent senses of pressure and distance, the entry uses a ramp as well as two steps dug in the middle of it to connect areas. Two sides of the entry are planted with grass to echo the surrounding natural landscape. The entrance space sets back from the outline and creates a semi-public space that is perpendicular to the circulation route. Also, it extends to the exterior with a canopy, giving itself a sense of inward inclusiveness.

Passageways separate the public space into an entrance reception area and a cafe/ dining area. Even though these two areas are partitioned, there is a visual connection in-between them; thus, this design feature keeps the functionality in respective areas while enhancing relationship between them. The main circulation is elevated to emphasize the dominant position of this passageway and to add visual height differences. Interior extension of the main passageway leads people to the second floor and further distribute them to individual guest rooms. Otherwise, guests can take a break to stay at the mezzanine level.

The long table extending against the wall from the dining area can be used for formal gatherings and dining. The space outside the full-height window is filled with green plants so that people can appreciate views as if looking at two huge “decorative paintings”.

This homestay intends to hold group activities; therefore, the sizes of guest rooms are small. And we design the rooms in various colors with a little gray scales. The door of each room has the respective color to match with its interior space. Colors are shuttling and jumping among rough concrete structures. And the colors of rooms refer to the colorfulness feature of the local flower sea. We try to leave much memory for the guests from the lobby to the guest rooms, from the public space to private space, and from calmness to warmness.

In this design practice, we combine raw materials of interior walls with direct construction method of space to give spirit to the “blank” space as well as to build a strong conversation between people and architecture. We also hope to enhance the interactions happening between people.

We create an “unfinished” public space to form an unprecedented experience. The whole building is like blank paper and we, as architects, depict the space in a brutal way. Thus, we try to reduce design elements to create an empty-canvas-like space and to introduce lights and shadows inside. And although the building has a sense of unfriendliness, these design features generate an atmosphere that brings surprising architectural power.