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The design process for the new studio was influenced by the site's ruins and functional considerations. During demolition, we constantly visit the site to feel and learn from the site and continue refining the design. We adopted an on-site approach, commuting daily to the construction site and combining design with demolition and renovation. With an eight-month deadline to move to a new studio before the old one's lease ended, we abandoned usual workflow. On-site Body-Response as a Renovation Strategy

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Thus, the originally entirely inward-looking house presents a coexisting feeling of an 'inward-looking courtyard' and 'outward-looking mountain landscape.' These feelings soon led to a core question of the site strategy: how to establish a new connection between the inward-looking courtyard and the large-scale mountains and fields landscape. The south building, once a traditional house, had collapsed into ruins, framing a view of the Cangshan Mountains. Inside was a well-preserved traditional stone-wood house from the 1980s and a brick-concrete structure from the 1990s. Initially surrounded by modern concrete houses, the site featured an abandoned stone-wood courtyard with an intriguing sense of ruins, overgrown with tall weeds. The studio, located in the southwest corner of a village at the base of Cangshan Mountain, was built to harmonize work and life with nature. The inner courtyards further shields residents from harsh weather, creating a traditional and natural lifestyle deeply connected to the surrounding landscape.

Traditional houses in this area typically face east, taking advantage of the morning sun and protection from the southwest winds in winter. Cangshan Mountain's nineteen peaks align in a north-south direction, with eighteen streams running from west to east, nourishing the fertile plains on the west side of Erhai Lake. The ancient villages in Dali, located on the west coast of Erhai Lake under Cangshan Mountain, offer a nurturing and pleasant living environment. It is a different idea of the web, which we might call slow web. banners, pop-ups or other distracting noise. No 'click me,' 'tweet me, 'share me,” 'like me.' No advertising. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: 'you make money only if you manage to distract your readers from the contents of your own site.' With divisare we want to offer the possibility, instead, of perceiving content without distractions. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. So we began to build divisare not vertically, but horizontally. May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the 'cover story,' 'the focus.'Ĭontent that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.