Located in the vicinity of Jiangsu Province’s famous Lake Tai, the project’s site occupies a space of over 1,000 square meters, 600 of which comprise a central courtyard. Surrounded by a modernist covered walkway and bounded by a series of pools, the courtyard visually and spatially connects to the interior spaces of the residence to which it belongs. Indoor and outdoor boundaries dissolve, the garden and the rooms adjacent to it echo one another, and people walk in the garden as if they were part of a painted composition.
Zhang Haihua has used minimalist principles to structure the project’s courtyard, removing any unneeded elements in order to create a space notable for its simplicity, elegance, and clarity. The water of the pool circumscribes the courtyard like a jade belt, bringing nature and architecture together into close, well-proportioned connection. People walking through and adjacent to the courtyard are introduced to a continual series of unexpected views due to the skillful modulations of the interior layout. Although the architectural language is one of Western modernism, the courtyard design subtly incorporates a sense of Oriental aesthetic refinement and a multifaceted garden experience.
Upon stepping into this project’s vestibule leading to the courtyard, this idea of seduction becomes apparent with the grass becoming visible - seemingly barely restrained, it awakens an undercurrent of wildness to this relaxed, elegant atmosphere.
A descending stair invites an exploration to where it leads. Alongside the thick grass, they go unexpectedly deep, ending up at the residence’s basement floor level. There, the entrance to a spiral staircase of white marble presents itself. If one follows its steps, it leads back up to the main hall on the first floor.
Opposite the spiral staircase at basement level is an extended kitchen island, which, besides providing a place to socialize or drink, also acts as a spatial buffer when entering the residence from the adjacent garage. The custom-designed recessed light trough cut into the ceiling creates a unique visual effect in the overhead structure, emphasizing the role of light in this space. It also lends a directional aspect to this longitudinal room, indicating the route to the rest of the residence’s spaces and lending a modern element to an atmosphere which is warm and relaxing.
Upon following the designer's subtle invitation to the first floor, the lowered ceiling at the spiral stair’s white vestibule space imperceptibly frames the view into the living room. As one steps into the living room, an expansive open-plan space emerges into one’s field of view, as if a quiet and melodious piece of music has begun to play.
During the mid-20th century, renowned architect Mies van der Rohe employed steel structures and glass facades to conceive a new kind of flowing space, creating simple designs that conveyed restraint, rationality, and order.
When this Western architectural concept of classic modernism meets with the Eastern garden's precept that “the imagination and the real combine to create new scenery with each step", it is notable that they each interpret the concept of "flow" in their own way. In order to merge these different yet complementary ideas, Zhang Haihua has employed a minimalist architectural aesthetic, while introducing changes in the opening and closing of the different spaces. By carefully modulating their degrees of transparency, each space is individually defined, while also interconnected to and flowing into the others.
These interconnected spaces present a fascinating range of variation in proportion, atmosphere, and materials, providing a surprising and enjoyable experience for anyone moving through the different rooms. The skillful blending of Eastern and Western sensibilities, and the synthesis of the ancient and modern here creates a new kind of combination of form and meaning.
The designer has also created areas which contrast with the open design of the overall space. The height of the windows has been carefully planned, in order to provide appropriate privacy, but also to consider the framed view from each one. For example, a long window extends horizontally, simply and elegantly framing a scroll painting of similar dimensions. Family or friends can gather around the dining table to eat and socialize while enjoying a clear view of the picturesque courtyard, a scene of natural warmth and pleasure.
The Ming Dynasty artist Tang Yin once described the clarity and calmness of Taihu Lake as "a vast, boundless area, an immense illuminated surface of pure, green water." Through in-depth exploration and interpretation of the cultural heritage of the Jiangnan region’s ancient water towns, Zhang Haihua's work adapts and re-imagines the spirit and aesthetics of the poetic life of local literati, resulting in a timeless architecture unbound by style or trends.