片之语：在中国传统高密度的城镇之中，为了达到封火的目的，户间墙都做成高墙，形成了片墙高低错落的立面视觉特征。而在这样一个1:4的纵向延伸的基地当中，同样将片墙作为形式语言，在横、纵、高的三个维度进行布置，最终用五片微斜屋顶，十片横向高墙，三片纵向弧墙，完成了空间六个面的限定和组织。 片之间：横向的十片墙，将狭长的基地隔成了十一个不等比例的空间，或为房间，或为庭院，或为设备平台。空间切分的节奏源自于对内部需求的重新组织，管线较为集中的卫生间和设备平台夹杂在大的使用空间之中，重复三次。头有内庭，尾有楼梯，形成一种张弛有度，气韵生动的节奏关系。 片之下：五片屋顶，尺度上接近于图底关系中的旧民居。覆盖于十一个空间之上。因进深不同，双坡顶覆盖房间，单坡顶覆盖公共区域。屋檐出挑形成灰空间，成为房间的平台抑或穿行于房间之中的折径。 片之势：柱挺立，梁承载，原本渭泾分明的框架体系，通过片墙融为一体，再通过一个圆角将垂直关系柔化，形成了自下而上的挺立转向由浅至远的承载。一次力场的弯折，“势”因此而来。在静态的片之间，片之下，形成动势，片穿越而出。 片之穿：片随势穿透，穿越纵向弧墙，悬臂至围墙之外，向外部展示其势。因此，面的穿越关系需要通过立面的缝隙显隐。 东方美学含蓄委婉，对于激烈的手法操作，被认为是下品。而用“形”表“势”，用“势”表“力”，力的穿越态势，婉转的被表达出来。 尾声：建筑作为人的庇护所，通常需以一种刚毅的姿态立于周边的环境之中，内部的空间与身体的感应和触碰，又需要柔软下来。“直角之诗”是现代主义的雄心，曲柔则是东方美学对于人的深情。建筑因真诚需要有纯粹性，但真诚通常不及温情，东方的诗意和哲学，是柔化了的真诚，不纯粹，却洄游，但真诚。 新房子被旧城包裹，留下的三个小内庭是张望旧城的窗口：八月花开，凌霄满墙，光影流转，时光对于老墙的刻画，满是覆盖了温情的真实。
The Language of Pieces：In traditional Chinese high-density towns, the walls between households are made high for the purpose of fire prevention, creating a visual character of staggered height of the façade. In the 1:4 longitudinal site, the walls are also used as a formal language, arranged in three dimensions, resulting in five slightly pitched roofs, ten horizontal high walls and three vertical curved wall. Between the Pieces：The horizontal ten pieces of walls divides the long, narrow site into eleven unequally proportioned spaces, either as rooms, courtyards or equipment platforms. The rhythm of the spatial incision stems from a reorganisation of internal needs, with the more centrally located plumbing bathrooms and equipment platforms interspersed among the larger spaces, which repeat three times. At the beginning there is an inner courtyard and at the end there is a staircase, creating a rhythm of tension. Beneath the Pieces：The scale of the five-piece roof is close to the figure-ground relationship of the old residential house, covering eleven spaces. Depending on the depth, the double-pitched roofs cover the private rooms and the single-pitched roofs cover the public areas. The eaves rise up to form grey spaces, which become platforms for the rooms or paths. The Momentum of the Pieces：The columns stand up and the beams carry the load. The originally clear-cut frame system is fused together by the piece-wall, and the vertical relationship is softened by a rounded corner, creating an uprightness that shifts to a shallow-to-far bearing. A bending of the force field, and thus a "momentum". Between and underneath the static pieces, a dynamic momentum is created with the pieces penetrating. The Penetration of the Pieces：The piece penetrates with the momentum, crossing the longitudinal curved wall and cantilevering beyond the fence to reveal its momentum to the outside. The crosing relationship therefore needs to be revealed and hidden through the gaps in the façade. Eastern aesthetics are subtle and euphemistic. Intense manipulation is considered inferior. Instead, 'form' is used to express 'momentum', and 'momentum' is used to express 'force'. The penetration of force is euphemistically expressed. Epilogue：As a shelter, architecture often needs to stand in a rigid position within its surroundings. Yet the internal space needs to be softened to the body's sense and touch. The "Le poème de l’angle droit" is the ambition of modernism, while the softness of the curve is the deep affection of oriental aesthetics. Architecture needs to be pure because it is sincere, but sincerity is no match for warmth. The poetry and philosophy of the East is a softened sincerity, not pure, but migratory. The new architecture is wrapped in the old city, leaving three small inner courtyards as windows to the old times: in August, lingonberries cover the walls with light and shadow flowing. Time etches the old walls, turning them into a warm reality.