Architects: UAD
Area: 10782 m²
Year: 2020
Photographs: Qiang Zhao, Tao Hong
Manufacturers: 上海丰丽集团有限公司, 杭州蓝天安全玻璃有限公司, 浙江惠石贸易有限公司, 舟山新东石业有限公司
Design Team:Xiaoming Shen, Xuefeng Chen, Tao Hong
Structural Design:Guomin Liu, Wei Chen
Water Supply & Drainage Design:Tiefeng Wang, Yu Tang
Hvac System:Shaofeng Fu
Mep Design:Songlin Yuan, Xinye Ding
Smart Design:Bing Jiang, Wubo Zhang
Curtain Wall Design:Jiongjiong Shi, Chao Hong, Jieneng Wang
Decoration Design:Yu Fang, Wenhui Peng, Baozhen Luo
Landscape Design:Lu Huang, Hong Shu, Beibei Zhang
Floodlighting Design:Xiaoxiao Pang, Danyu Lu, Shuzheng Xiao
Construction Economist:Yunfeng Wang


In the era of internationalization and globalization, products we use and even our thoughts have been separated from local languages and cultures. The world is increasingly becoming “virtual” and “flat”. For architecture, globalization has brought advanced construction approaches and optimal materials, but at the same time caused anxiety and loss of identity. We think that modern architecture needs to reincorporate local context and cultural elements, reactivate the spirit of the site and balance internationalization and localization, so as to realize diversified architectural designs in the future.

在國際化和全球化的時代,我們使用的產品甚至我們的思想已經與當地語言和文化分離。 世界正變得越來越“虛擬”和“平坦”。 對於建築而言,全球化帶來了先進的施工方法和最佳材料,但同時又引起了焦慮和認同感的喪失。 我們認為,現代建築需要重新融入當地背景和文化元素,重新激活場地精神,平衡國際化和本地化,以實現未來的多元化建築設計。

The project is located on Mount Putuo Island, Zhoushan, Zhejiang Province. As the sole public port of the Putuo Mountain Scenic Area, it integrates dock area, ticket office, tourist distribution square, ship waiting area and other functional sections. The scenic area receives more than 12 million visitors each year, but the former passenger transportation center was too cramped to accommodate the increasing number of tourists. Given the historical and ecological value of the site, we maintained the original layout where the entrance and the exit were respectively set on east and west sides, in order to continue the operation mode of the pier. Besides, we built an extended platform towards the sea as the foundation of the new passenger transportation center. Meanwhile, the area occupied by the original passenger center was transformed into a front square, which not only extended the indoor and outdoor spaces but also guaranteed normal operation of the wharf during the construction period.


The architectural design breaks with the large volume and iconic image of conventional transportation facilities. From south to north, the sight line is gradually lifted from the long corridor above the sea to the gentle pitched roof and finally reaches distant mountains. In east-west direction, all architectural volumes are integrated into a whole. The entrance hall, exit hall and other auxiliary spaces are parallel with each other but are given different depths, and the two wings are set back to minimize the obstruction of sight line. Through organizing the spatial pattern in such manner, we created a loose yet low-profile architectural gesture, and turned the pier into a transitional space as well as starting point for Buddhist worship on the island.

建築設計打破了傳統交通設施的大體積和標誌性形象。 從南到北,視線從海面上長長的走廊逐漸升至平緩傾斜的屋頂,最後到達遙遠的山脈。 在東西方方向上,所有建築體積都被整合為一個整體。 入口大廳,出口大廳和其他輔助空間彼此平行,但具有不同的深度,並且兩個機翼向後設置以最小化視線的障礙。 通過以這種方式組織空間格局,我們創造了一個寬鬆但低調的建築姿態,並將碼頭變成了過渡空間以及島上佛教徒崇拜的起點。

Modular units are combined with traditional architectural languages, to reduce the overall volume and produce the “five layers” of traditional Chinese architectural system: bracket, bay, courtyard, building and city. As bracket loses its function for modern architecture, bay has become the smallest module.

模塊化單元與傳統建築語言相結合,以減少整體體積並產生傳統中國建築系統的“五層”:托架,海灣,庭院,建築物和城市。 由於支架失去了現代建築的功能,托架已成為最小的模塊。

The large span of the structural system in east-west direction perfectly supports the idea of taking bay as the smallest module, which enables the integration of the modern architecture and local traditions. Bay modules lay the foundation of the architectural form. Different bays are coordinated based on functions, with single bays or combinations of several bays shaping various spaces with distinct scales. Column grids and roofs correspond to bays, together forming the “building”.

結構系統沿東西方向的大跨度完美地支持了以海灣為最小模塊的想法,從而使現代建築與當地傳統得以融合。 托架模塊奠定了建築形式的基礎。 根據功能對不同的托架進行協調,單個托架或多個托架的組合可形成具有不同比例的各種空間。 圓柱網格和屋頂對應於海灣,共同形成“建築物”。

Building modules can be expressed by different languages and ways. The method of collage can enrich both the form and meaning of the building structure. It enables the juxtaposition of different materials, colors and scales, and what we had to do was to achieve balance among those elements based on sensibility. Through subtly adjusting the relative positions among bays and enclosing them, “courtyards” were formed. With different sizes, those courtyards bring natural landscape into the building.

構建模塊可以用不同的語言和方式表示。 拼貼方法可以豐富建築結構的形式和含義。 它使不同材料,顏色和比例的並置成為可能,而我們要做的就是基於敏感性在這些元素之間取得平衡。 通過巧妙地調整海灣之間的相對位置並將其包圍起來,形成了“庭院”。 這些庭院大小各異,將自然景觀帶入建築物。

Modern architecture is international yet “invasive”. However, it shall also embrace regionalism and localization. Only in this way, can a balanced relationship between purity and the site’s cultural context be established, and can the building become natural and significant. More importantly, only such kind of “balanced architecture” can truly resonate with people.

現代建築是國際性的但“具有侵略性”。 但是,它也應包含地區主義和本地化。 只有這樣,才能在純淨度與遺址的文化背景之間建立平衡的關係,並使建築變得自然而重要。 更重要的是,只有這樣的“平衡架構”才能真正引起人們的共鳴。



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