项目位于中国福建省宁德市东海一号公路沿途。基地毗邻东海，视线开阔，平台正面是兀立海中的笔架山岛，崖下海礁林立，并有海蚀洞。建筑应该在保持原场地很好的观海效果的前提下，为游客提供文化活动、聚会休息的场所，并兼顾一定的餐饮功能。
建筑设计强调与环境的关系，也兼顾了低碳节能的理念。设计灵感来自于场地周边的海礁和海蚀洞，建筑形体呈不规则形状，非直角的造型让人联想到场地周边的礁石。建筑采用覆土形式，最大程度的避免了对土地的占用。建筑主体藏于地下，除了尊重环境的因素外，也让室内温度保持相对稳定，降低了夏天制冷的能耗。
建筑的屋顶也是观景平台，覆土和重新铺设的植被让建筑实现了“零用地”的理念。屋顶开设了若干造型奇特的通风口和采光口。它们的形体模仿了海洋生物，或扁圆、或三角、或长管，自由组合分布在草地中间，既可以作为屋顶草地上的装置，供游客玩耍、拍照，又保证了室内的通风和采光。建筑外观被设计成不规则形态。利用结构和功能性的开洞（门窗），墙面呈现出几何化的切削和组合关系，伴随墙体不同角度的倾斜，建筑看上去如同适度抽象后的海礁。为了塑造更为自然的质感，混凝土采用拉毛处理，让建筑更接近岩石的感觉。
建筑的主入口位于屋顶西侧，它有着一个半圆筒状的造型，并从地下伸出来。从此处进入，通过下行的甬道，人们可以进入建筑内部。建筑的室内由多个相互串联的“洞穴”空间构成。建筑师从周边海蚀地貌获取灵感，通过拟态的方式，创造了一个有机且具有戏剧性的空间。室内空间分为门厅、主空间和后勤空间三个区域。主空间由沙龙区和展厅两个区域组成，它们都位于建筑面向大海的一侧，具有良好的视野。这里既可以举办展览、小型聚会，又可以提供餐饮服务。
建筑照明尽量克制，力图不影响周边的环境和动物在夜间的活动。只在建筑的重要位置（入口、屋顶采光管、外立面转角处）设置小功率的灯具，在塑造建筑形体的同时，保证了宁静的气氛。

The project is located along the Donghai No. 1 Highway in Ningde City, Fujian Province, China. The base is adjacent to the East China Sea and has a wide line of sight. The front of the platform is the Bijia Mountain Island in the middle of the sea. There are many reefs and sea caves under the cliff. On the premise of maintaining the good sea view effect of the original site, the building should provide cultural activities, gathering and rest places for tourists, and take into account certain catering functions.
Architectural design emphasizes the relationship with the environment, but also takes into account the concept of low-carbon energy saving. The design is inspired by the reefs and caves around the site, and the shape of the building is irregular, with non-right angles reminiscent of the reefs around the site. The building adopts the form of covering soil, which avoids the occupation of land to the greatest extent. The main body of the building is hidden underground. In addition to respecting the environmental factors, it also keeps the indoor temperature relatively stable and reduces the energy consumption of summer refrigeration.
The roof of the building is also a viewing platform. The covering of soil and the re-laying of vegetation make the building realize the concept of "spare land. The roof has a number of oddly shaped vents and lighting openings. Their shape imitates marine life, or oblate, or triangular, or long tube, freely combined and distributed in the middle of the grass, which can be used as a device on the roof grass for tourists to play and take photos, and ensure indoor ventilation and lighting. The exterior of the building is designed to be irregular. Using structural and functional openings (doors and windows), the walls present a geometric cutting and combination relationship. With the inclination of the walls at different angles, the building looks like a moderately abstract reef. In order to create a more natural texture, the concrete is used to pull the wool treatment, so that the building closer to the feeling of rock.
The main entrance of the building is located on the west side of the roof. It has a semi-cylindrical shape and protrudes from the ground. Entering from here, through the descending corridor, one can enter the interior of the building. The interior of the building consists of a number of "cave" spaces connected in series. The architects took inspiration from the surrounding marine landscape and created an organic and dramatic space through mimicry. The interior space is divided into three areas: the entrance hall, the main space and the logistics space. The main space consists of two areas, the salon area and the exhibition hall, both of which are located on the side of the building facing the sea and have a good view. Here can hold exhibitions, small parties, and can provide catering services.
Building lighting as far as possible restraint, trying not to affect the surrounding environment and animal activities at night. Only in the important position of the building (entrance, roof lighting tube, facade corner) set up small power lamps, in the shape of the building at the same time, to ensure a quiet atmosphere.

设计哲学：
建筑作为乡村振兴的手段
强调建筑作为一种社会设计，服务弱势群体，特别是中国乡村低收入人群。作品通过空间的更新，新功能的植入，形成空间、产业、文化和社会关系的综合可持续性。认为乡村建筑具有容器、触媒和灯塔的三重属性，可以激活周边社区，重塑乡村公共空间和公共生活。先后提出：“乡村弱建筑设计”（Vague Architectural Design in Rural Area）、整体设计（Gesamt-design）、“乡村复兴六要素”（有主题，坐下来，住一晚，带着走，玩开心、可以晒）、“乡村建筑学”等观点，并在实践中加以验证。

建筑与自然、场地的对话
强调基于中国传统山水观念的建筑与自然环境关系。设计从基地的地理、气候和场所性出发，关注人工物与自然之间的对话关系，既尊重自然，又适当的表现建筑的存在。认为建筑和周边环境是一种基于人文的共生关系，周边自然环境为建筑提供背景、条件和基地，而建筑的出现为环境增添了文化和艺术因素，成为环境与人之间的锚点。

在地日常的显化设计（Transfiguration design）
关注在地的日常生活（everyday life）及自发建造中的智慧和趣味，关注历史旧物的当代意义，重视公众参与，强调与在地工匠的密切合作。乐于以一种轻松、自由，甚至是幽默的态度，将日常空间、日常材料、日常工艺、日常行为进行适度的陌生化，并与色彩、光影紧密结合，塑造具有戏剧性、叙事性的空间。

Design Philosophy:
Architecture as a means of rural revitalization
Emphasis on architecture as a social design, service vulnerable groups, especially low-income people in rural China. Through the renewal of space and the implantation of new functions, the work forms the comprehensive sustainability of space, industry, culture and social relations. It is believed that rural architecture has the triple attributes of container, catalyst and lighthouse, which can activate the surrounding communities and reshape the rural public space and public life. The following viewpoints have been put forward successively: "Vague Architectural Design in Rural Area" (Rural Architecture Design), overall design (Gesamt-design), "Six Elements of Rural Revival" (theme, sit down, live for one night, take it with you, have fun and can be basked in), and "Rural Architecture", which have been verified in practice.

Dialogue between architecture, nature and site
It emphasizes the relationship between architecture and natural environment based on the traditional Chinese concept of landscape. The design starts from the geography, climate and locality of the base, and pays attention to the dialogue relationship between the artificial objects and the nature, which not only respects the nature, but also properly shows the existence of the building. It is believed that architecture and the surrounding environment are a kind of symbiotic relationship based on humanities, and the surrounding natural environment provides the background, conditions and bases for architecture, while the appearance of architecture adds cultural and artistic factors to the environment and becomes the anchor point between the environment and people.

Daily manifestation design (Transfiguration design)
Pay attention to the daily life (everyday life) in the ground and the wisdom and interest in spontaneous construction, pay attention to the contemporary significance of historical objects, attach importance to public participation, and emphasize the close cooperation with local craftsmen. I am willing to defamiliarize daily space, daily materials, daily crafts and daily behaviors with a relaxed, free and even humorous attitude, and closely combine with color, light and shadow to create a dramatic and narrative space.

三文建筑创始于2013 年，多年来一直从事城市、建筑、室内、策展、灯光和艺术等领域的跨界研究及实践创作。三文建筑强调媒体传播时代的整体设计服务，关心人文和社会，注重与地域文化、所在场域和日常生活的关联性，以及历史与当代的对话。近年来，积极参与乡建、风景建筑和旧建筑改造等领域的实践，代表作品包括：西河粮油博物馆及村民活动中心、上坪古村复兴计划、809厂改造更新、石窝剧场、溶岩美术馆、一滴水图书馆等。

Sanwen Architecture was founded in 2013 and has been engaged in cross-border research and practical creation in the fields of city, architecture, interior, curation, lighting and art for many years. Sanwen Architecture emphasizes the overall design service in the era of media communication, cares about humanities and society, and pays attention to the relevance of regional culture, field and daily life, as well as the dialogue between history and contemporary. In recent years, he has actively participated in the practice of rural construction, scenic architecture and old building renovation. Representative works include: Xihe Grain and Oil Museum and villagers' activity Center, Shangping Ancient Village Renaissance Plan, 809 Factory renovation and renewal, Shiwo Theater, karst gallery, Yidishui Library, etc.