西湖是古人笔下的文学圣地，也是杭城人生活中不可分割的一部分，走在充满烟火气的老城区中，瞥见布满青苔的刻着字的青石板。延安路88号大楼内，半圆形拱窗所在的二层空间，是「浮生遇到你」项目的所在地，略有西式建筑形态的空间内，却有东方水墨的意境：远山、拱桥、湖面、扁舟、荷叶，还有宋画的留白空间逐渐浮现。 “空间游船”，是我们第一个也是最终落地的概念方案，拱形的空间语言变成具象的湖上拱桥或是正在出游的乌篷船，串联起空间的一侧，六个水上茶亭如荷叶一般浮于水面之上。在这里，我们引入了一个“入画”的概念，人，就是空间中的游船，可以行至桥下，也可以划到莲荷中间。 进入空间的画卷，欣赏湖光山色的美景，把在湖中可做的事，放进茶舍之中，想来也是一件美好而充满仪式感的事。 “行在杭州，环城诸水，有石桥一万二千座”马可波罗游记中的杭州，就是这样一座多水、多桥的城市。西湖中，沿着苏堤、白堤、杨公堤、湖畔山居，也有数十座桥，耳熟能详的故事也在此发生。有趣的事情在于，虽说西湖上的桥很多，但都不是“跨湖大桥”，得益于西湖上的堤岸以及湖中小岛的分割，西湖的桥大多都是石质的拱桥。“孤山不孤，断桥不断，长桥不长”，是杭城人向来客介绍的必说之词，即便是九曲十八弯的长桥，也有小小的桥拱，连接两端。因此，把拱桥的形态作为空间的语言，也就自然而然地发生了。 面对正门的拱形，被设计成接待区，隐藏在阵列式的空间语境中，一盏灯、一段枯枝、一个小台，满足功能却表达一份静怡之感。前后错落的空间关系，形成两种包厢形态：中式包厢与榻榻米包厢。玻璃砖作为墙底部结构，灯光从强到弱，有一种包厢漂浮在空间中的感受，正如湖上的小船缓缓移动。 有半圆窗的包厢内部保留了自然光的引入，弧形的空间内囊，让人们聚焦在中心线，朦胧的布幔挂在空间中犹如江南女子的丝巾，优雅至极。在没有窗户的茶室我们用人造面光结合故事内容在玻璃上传递，呈现同样适合喝茶的安逸空间。所有的包厢都是抬高一步进入空间，结合灯光的处理，让空间结构关系变得更为灵动与飘逸。道路尽头有三间榻榻米的空间由我们创作的的一副抽象西湖水景画贯穿，精心挑选的老石板，花格窗壁饰和桌上的花器都给空间凝聚一种朴实的叙述感，空间上方的三个圆型造型都微有不同，思考的过程是关于时间的推移，一切都慢下来且值得回忆，此时吃茶是福。 我们希望营造一种意境，置身湖中，吃茶享乐，被水所包裹，慢慢腾起的烟雾，去模糊空间的边界，成为空间的留白。一条不经意的曲线形成了一片水域，水域之上可踏着石板进入，烟雨蒙蒙仿佛一步已经踏入仙境。
West Lake is a literary shrine under the pen of the ancients and an inseparable part of the life of Hangzhou people. Walking in the old city full of fireworks, glimpsing the moss-covered green stone slabs with engraved words. "The arch-shaped spatial language becomes a figurative arch bridge over the lake or a crow-top boat on a cruise, linking one side of the space, and six water pavilions floating on the water like lotus leaves. Here, we introduce the concept of "entering the painting", people are the boats in the space, which can travel under the bridge or row to the middle of the lotus. It is a beautiful and ritualistic thing to enter the painting of the space, to enjoy the beauty of the lake and the mountains, and to put the things you can do in the lake into the tea house. "In Hangzhou, there are 12,000 stone bridges around the city and all the water. In the West Lake, along the Su Causeway, the Bai Causeway, the Yanggong Causeway, the lakeside mountain residence, there are also dozens of bridges, the familiar story also happened here. The interesting thing is that although there are many bridges on the West Lake, they are not "cross-lake bridges", thanks to the division of the West Lake embankment and the small islands in the lake, most of the bridges on the West Lake are stone arch bridges. "Even the long bridge with nine curves and eighteen bends has a small arch that connects the two ends. Therefore, the form of the arch bridge as the language of space, also occurred naturally. The arch facing the main entrance is designed as a reception area, hidden in an array of spatial contexts, with a lamp, a section of dead branches and a small table, satisfying the function but expressing a sense of tranquility. The spatial relationship between the front and back is staggered, forming two types of private rooms: Chinese style private rooms and tatami boxes. The glass blocks are used as the bottom structure of the wall, and the lighting is from strong to weak, giving a feeling that the boxes are floating in the space, just like the boats on the lake moving slowly. The semi-circular window retains the introduction of natural light inside the compartment, and the curved space inside the capsule allows people to focus on the center line, and the hazy mantle hangs in the space like the silk scarf of a woman in Jiangnan, which is elegant in the extreme. In the tea room without windows we use artificial surface light combined with the content of the story passed on the glass to present the same restful space suitable for drinking tea. All of the private rooms are raised one step into the space, and combined with the lighting treatment, the structural relationship of the space becomes more dynamic and ethereal. The space with three tatami mats at the end of the road is penetrated by an abstract West Lake water scene painting created by us. The carefully selected old stone slabs, lattice window wall decorations and flower vessels on the table all give the space a cohesive sense of simple narrative, and the three round shapes above the space are all slightly different. The thinking process is about the passage of time, everything is slowed down and worth remembering, and eating tea at this time is a blessing. We hope to create a kind of mood, being in the lake, eating tea and enjoying, wrapped by water, slowly rising smoke, to blur the boundaries of space, to become the space of white space. An inadvertent curve forms a piece of water, and the water can be entered by stepping on the stone slab, and the smoke and rain seems to have stepped into the fairyland."Space cruise ship" is our first and final conceptual plan. The arched space language becomes a concrete arch bridge on the lake or a woufou boat that is traveling, connecting one side of the space, and six water tea pavilions float on the water like lotus leaves. Here, we introduce a concept of "entering the painting". People are pleasure boats in the space, which can go under the bridge or row into the middle of lotus plants. It is a beautiful and ritual thing to enter the picture of the space, enjoy the beautiful scenery of the lake and the mountains, and put the things that can be done in the lake into the tea house. "Walking in Hangzhou, surrounded by water, there are 12,000 stone Bridges." Hangzhou in Marco Polo's travel notes is such a city with many water and Bridges. In the West Lake, there are dozens of Bridges along the Su Causeway, Bai Causeway, Yanggong Causeway and the Lakeside mountain residence. The familiar stories also happen here. The interesting thing is that although there are many Bridges on the West Lake, they are not "cross-lake Bridges". Thanks to the embankment on the West Lake and the division of the small islands in the lake, most of the Bridges in the West Lake are stone arch Bridges. "The lonely mountain is not lonely, the bridge is broken constantly, and the long bridge is not long" is a phrase that Hangzhou people will introduce to visitors. Even the long bridge with nine twists and eighteen turns has small arches connecting the two ends. Therefore, it is natural to take the form of arch bridge as the language of space. The arch facing the main door is designed as a reception area, hidden in the spatial context of array type. A lamp, a section of dead branches and a small stage meet the function but express a sense of tranquility. Before and after the staggered space relationship, the formation of two box forms: Chinese box and tatami box. The glass brick is used as the bottom structure of the wall, and the lighting changes from strong to weak, giving a feeling of the box floating in the space, just like a boat moving slowly on the lake. The box with half round window retained the introduction of natural light, arc-shaped space capsule, let people focus on the center line, hazy cloth curtain hanging in the space like Jiangnan woman's silk scarf, elegant to the extreme. In the windowless teahouse, we use artificial surface light combined with story content to convey on the glass, presenting the same comfortable space suitable for drinking tea. All the boxes are elevated step into the space, combined with the processing of lighting, so that the spatial structure relationship becomes more flexible and elegant. At the end of the road there are three tatami space created by our a pair of abstract throughout the west lake waterscape, carefully selected old SLATE, lattice window wall act the role ofing and floral organ on the table to the spatial agglomeration of a simple narrative sense, space at the top of the three circular modelling are slightly different, the process of thinking about time, all slow down and it is worth remembering, the tea is a blessing. We hope to create a kind of artistic conception, stay in the lake, eat tea and enjoy, surrounded by water, slowly rising smoke, to blur the boundary of the space, become the space blank. A casual curve formed a body of water, water can step into the stone, misty rain as if a step has stepped into wonderland.