Unlike the aesthetic conception of the Tianjin Blue Water Park project, the “modernism” of Beijing architecture seems to adapt to the rushed daily life of contemporary people more quickly and “understand” their expectations for the future. From the shape to the function, Yuanyang Tianzhu designed by Wu Wei DESIGN centered on the owner’s life demands. The designer creates a multi-dimensional divergent experience in a limited space.

.

The owner spends half of his time working at home, hoping not to disturb each other when he is with his children and parents. Therefore, the designer has created a composite space utilization, so that each floor not only realizes the conventional functions but also used for other purposes. The south-facing space is more open, adding storage areas and creating a happy home for three genera-tions, creating the most massive space utilization.

The transitional space is the hub of daily life. The designer disassembles it into white and black in-stallations and expands the mood and memory of passing through this area with a realistic photo-graphic work. From the living room to the kitchen, the same creative technique used to string to-gether. Brass, glass, mirrors, and other durable materials mix abstract artwork, giving the space an invisible field and rhythm.

Interestingly, the designer also “helps collect” natural elements and decorates them into the living room. The “growth of trees” on the wall did not stop but spread downwards to become part of the house. People, art, and nature merge, leaving a large area of gray-textured walls blank and left for imagination.

Wu Wei likens each of his projects to “talking about a long relationship.” Naturally, much time must spent on “researching” people. As a designer, he insists on giving the best to his clients, so the matching of people and space is a technical and professional issue. After all, the house becomes “home” because of “people.”