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Appreciation towards Minax Architects for providing the following description:

大理是个另类的地方。我长大在云南，从小听着”下关风、上关花、苍山雪、洱海月”这些词长大，听得太多，反而觉得不真实了。后来做设计，跑了很多地方，再回到大理，才发现那些词不是修辞——风是真的硬，花是真的野，苍山的雪线清清楚楚压在头顶上，洱海的水面晃得人睁不开眼。

Dali is unlike any other place I know. I grew up in Yunnan, hearing its iconic phrase on repeat: Wind of Xiaguan, Blossoms of Shangguan, Snows of Cangshan, Moon over Erhai. I’d heard it so many times it began to feel like empty poetic ornament—until I traveled the country working in design and came back home. Only then did I grasp its unvarnished truth. The winds here bite sharp; wild flowers bloom untamed; snow-capped Cangshan looms heavy overhead; sunlight glints off Erhai’s waters so fiercely it stings your eyes.

▼总体鸟瞰，Overall bird’s-eye view ©山间影像 Shan-jian images

▼总体鸟瞰，Overall bird’s-eye view ©山间影像 Shan-jian images

大理的光特别锐利。下午两三点钟站在文笔村的路上，太阳像刀子，把白族民居的照壁切成一明一暗两块几何体，硬边的，没有过渡。到了黄昏又是另一回事，整个天烧成金红色，洱海的水面变成一块化掉的铜，晃得人心慌。那种光会让你觉得时间不是匀速走的——在大理它被拉长了，又突然被压缩。来大理的人，多半是想从原来的生活里抽身出来。大理也确实能给你这个，一种不太像现实的时间感。

▼改造前后对比，Before and After the Transformation ©MINAX

Dali’s light carries an uncanny sharpness. Walk down a lane in Wenbi Village at two or three in the afternoon, and the sun blazes like a blade, slicing the white partition walls of Bai folk houses into stark geometric blocks of light and shadow, no soft gradients to blur the divide. Dusk transforms the landscape entirely. The sky blazes burnt crimson, and Erhai melts into a sheet of smoldering bronze, its glare stirring quiet restlessness. Light warps time here: moments stretch thin, then snap short without warning. Most visitors arrive eager to step away from mundane routines, and Dali delivers exactly that—a sense of time untethered from ordinary reality.

▼色彩将建筑从背景中凸显出来，Color highlights building from the background ©山间影像 Shan-jian images

▼夜灯点亮一个梦的世界，The nightlight illuminates a world of dreams ©山间影像 Shan-jian images

大理的民宿现在多到什么程度？业主给了我一个数字，在册的七千多家，算上没证的小客栈，怕是上万了。客房十二万多间，但这几年客房涨得比游客快得多，听说扩了四倍不止。入住率掉到四成上下，八成的民宿在亏。大理大概是国内民宿竞争最惨烈的地方。

▼改造前后对比，Before and After the Transformation ©MINAX

The local homestay market is drastically oversaturated. The owner shared hard figures: over seven thousand licensed guesthouses operate in Dali, with unregistered inns pushing the total close to ten thousand. Altogether they hold more than 123,000 guest rooms, yet supply has ballooned four times faster than tourist arrivals in recent years. Occupancy hovers around forty percent, with eighty percent of these properties running at a loss. Dali hosts the most brutal homestay competition across the whole country.

▼云影与星光，Cloud Shadow and Starlight ©山间影像 Shan-jian images

“极目”是十年前改建的。那时候文笔村还没这么多房子，它紧挨着洱海，算是村里第一个真正意义上的设计型民宿。很长一段时间，它的房价是文笔村最高的。但这五年，新的民宿一栋一栋起来，极目自己也在折旧，慢慢就从大家口中”最贵的那个”变成了”还不错的那一个”。业主找我谈改造，想在这个竞争激烈的市场里重新建立优势。

Jimu was renovated a decade ago. Back then, Wenbi Village held far fewer buildings, and this lakefront retreat stood as the village’s first genuine design-driven guesthouse, commanding the highest nightly rates for years. Over the past five years, wave after rival property has sprung up around it. The building aged too, and Jimu slipped from the town’s most coveted stay to just another decent option. Its owner approached me for a full overhaul, hoping to carve out a distinct competitive edge in this cutthroat market.

▼午后的斜阳描摹出云的影子，The setting sun in the afternoon traced the shadows of clouds ©山间影像 Shan-jian images

问题其实不复杂。极目当初赢在设计感，现在周围一圈新民宿，比你新、比你便宜、比你舍得花钱搞营销，光靠”设计型民宿”这块招牌已经不够吃了。继续在原来的路子上小修小补？意义不大。纯做住宿也不行，大理民宿八成在亏，房费回不了本。预算有限，大拆大建不现实。想来想去，得找一条花钱不多、但能让人记住的路。大理不缺好看的民宿，缺的是让人愿意专门来一趟、来了之后愿意拍照、拍了之后别人也想来的东西。说白了，得跟周围的不一样，而且不一样得有道理。

▼整体剖面图，Overall sectional view ©MINAX

The core dilemma was straightforward. Jimu once stood out for its intentional design language, but newer rivals boast fresher builds, lower prices, and far bigger marketing budgets. Relying solely on the label “design guesthouse” no longer turns a profit. Minor cosmetic tweaks would shift nothing. Pure lodging alone cannot sustain a business here, as four-fifths of local homestays prove. We also faced tight budget restraints that ruled out large-scale demolition and reconstruction. I weighed every angle and landed on a quiet formula: minimal construction costs, maximum memorability. Dali overflows with pretty homestays; what it lacks are true destinations—places people will travel specifically to visit, spaces that beg to be photographed and shared online. Put plainly, we needed a unique identity, and one rooted in thoughtful logic, not arbitrary novelty.

▼层叠的紫色云台，Stacked purple cloud like platform ©山间影像 Shan-jian images

大理是个适合做梦的地方——不是说风景美到像梦，是那种光、风、云的变化太快，人待着待着，现实感就松动了。梦有个特点，它不讲道理。你白天见过的人、走过的路、想过的念头，被拆碎了重新拼接，所以梦里总有说不清的既视感——这条路好像走过，这个人好像认识，但又对不上。情绪是主角，逻辑退到后面。

Dali is a land made for dreaming, not merely for its postcard scenery. Wind, sunlight and clouds shift so rapidly here that the boundaries of everyday reality soften for anyone who lingers. Dreams follow no rational logic. Fragments of days—faces you’ve seen, roads you’ve walked, half-formed thoughts—shuffle and recombine into uncanny scenes. You recognize a street or a stranger, yet nothing quite lines up. Emotion takes center stage; reasoning fades into the background.

▼改造前后对比，Before and After the Transformation ©MINAX & 山间影像 Shan-jian images

▼改造前后对比，Before and After the Transformation ©MINAX & 山间影像 Shan-jian images

这种”熟悉又陌生”的感觉，让我想到马格利特。雷内·马格利特画中那些东西，云从房子里飘出来，帽子飘在半空，白天和黑夜挤在同一张画里——你说不上来它是什么意思，但看着就是觉得对。它不解释，只呈现。大理的云也是这样，每天在苍山和洱海之间生成、飘、散，跟光和风搅在一起，变来变去，有一种天然的叙事性。我们就想，能不能把这种”梦的逻辑”放到空间里。不解释，只让人待在里面的时候，觉得既熟悉又陌生。

▼勒内·马格里特《揭开面具的宇宙》，Rene Magritte – L’Univers démasqué, 1932

▼平面生成，Plan generation ©MINAX

That eerie sense of familiar unfamiliarity brought René Magritte’s canvases to mind. Clouds drift out of houses, hats float suspended mid-air, day and night crammed onto a single frame. His paintings offer no neat explanations, only quiet visual truths. Dali’s clouds operate the same way, drifting and dissipating between Cangshan and Erhai, woven through shifting light and wind with an innate narrative rhythm. I wondered if we could translate that dreamlike logic into built space: a setting that feels simultaneously recognizable and alien, with no heavy exposition required.

▼云元素环绕的建筑体，Building surrounded by cloud elements ©山间影像 Shan-jian images

▼改造前后对比，Before and After the Transformation ©MINAX & 山间影像 Shan-jian images

选紫色其实没太多道理好讲。马格利特画里那些云就是这个颜色，不暖不冷的，搁在大理的蓝天和灰绿的水面之间，刚好——又近又远。非要说的话，紫色在红和蓝之间，带着点红的温度，又有蓝的距离感，跟梦里那种”明明在眼前但够不着”的感觉有点像。但这些都是事后找补的，选它的时候没想这么多。

I did not overthink the choice of violet at first glance, though hindsight brings artistic justifications. Magritte’s dreamlike cloudscapes share this exact hue, a middle ground between warm red and cool blue that sits perfectly against Dali’s cerulean skies and muted teal lake waters—near, yet distant. If forced to articulate its metaphor, violet mirrors the dream sensation of something vividly present yet forever out of reach. All those readings arrived after the call was made; I picked the shade purely from intuitive feeling.

▼敞向风景的建筑，Buildings with open scenery ©山间影像 Shan-jian images

建筑原来是白色的，跟周围所有民宿一样白。我们在上面铺了紫色的地面和构件，那些白色的体块就变了，从”一栋白房子”变成了一个不太确定是什么的东西。几何的边界被柔和的曲线替掉了，一层一层往外展开，跟苍山洱海上面的云层对着。这个紫不是点缀，是整个空间的底色。

The original building stood plain white, identical to every neighboring homestay. We laid violet surfacing and sculptural elements across its volumes, stripping it of its generic identity as just another white villa. Sharp geometric edges gave way to soft, layered curves echoing the cloud banks rolling over Cangshan and Erhai. Violet is no decorative accent here; it forms the foundational tone of the entire site.

▼建筑边界被柔和的曲线代替，The building boundary is replaced by soft curves ©山间影像 Shan-jian images

▼建筑边界被柔和的曲线代替，The building boundary is replaced by soft curves ©山间影像 Shan-jian images

一层地面和二层绿化屋顶原来使用率不高，我们把它改成了最大面积的观景平台。平面是有机的，边缘做成卷云形，用弧形金属栏杆收口。从远处看，像一片紫色的云叠在建筑顶上——”云”这个词我不想用，但确实没有更准确的形容。

The ground-floor patio and second-story green roof had long sat underutilized, so we reimagined them as sprawling observation terraces with organic, billowing outlines edged in curved metal balustrades. Viewed from afar, the platform reads as a violet cloud resting atop the building—a comparison I hesitate to lean on, yet no phrasing captures its silhouette quite so accurately.

▼凭栏远眺，Looking far from the railing ©山间影像 Shan-jian images

平台上散了些明黄色的椅子。黄和紫撞在一起，对比很强，但不是那种刺眼的强，更像马格利特画面里的关系，两种颜色各说各的，放在一起反而安静了。屋顶中间立了一个白色的云朵装置，下面挂着黄色秋千。镜面穿插在平台里，把天、苍山、洱海和人搅进同一个反射面。边界没了，空间往四面延伸，到镜面那里折回来，又延伸出去。

Pale yellow lounge chairs dot the terrace, creating a striking yet gentle color clash reminiscent of Magritte’s canvases. The two hues hold their own without harsh clashing, settling into quiet harmony. A sculptural white cloud installation anchors the roof’s center, strung with a yellow swing. Mirrored panels thread through the terrace layout, merging sky, mountain ranges, the lake and visitors into a single reflective plane. Physical borders dissolve; space stretches outward, folding back on every mirrored surface to expand endlessly.

▼依树而生的平台成为最佳观景点，
The platform born from trees becomes the best viewing spot ©山间影像 Shan-jian images

▼树变成了一把风景中的伞，
The tree has been transformed into an umbrella in the scenery ©山间影像 Shan-jian images

▼云中树影，Shadow of trees in the clouds ©山间影像 Shan-jian images

▼新与旧的和谐共存，Harmonious coexistence of old and new ©山间影像 Shan-jian images

二层做了一间”镜厅”。隔墙、天花板、甚至几根结构柱，全部贴了镜面。地面延续紫色。走进去的第一反应是晕——苍山的轮廓、洱海的水光、云、黄色家具的色块，全在镜面里反射、折射、再反射，根本分不清哪面墙对着外面。几个房间其实不大，但站在里面，四面都是苍海。

We fitted a Mirror Hall on the second floor. Partition walls, ceilings, even supporting structural columns are fully clad in mirror panels set atop violet flooring. Step inside and disorientation strikes instantly: silhouettes of Cangshan, ripples from Erhai, drifting clouds and blocks of yellow furniture reflect, refract and multiply without end. It becomes impossible to tell which wall opens outward. Though none of these chambers are large, standing inside wraps you in unbroken mountain-and-lake vistas on every side.

▼镜厅苍海，The Mirror Hall between Cangshan and Erhai Lake ©山间影像 Shan-jian images

▼镜面打破了风景的物理界限，Mirror breaks the physical boundaries of scenery ©山间影像 Shan-jian images

▼光与景绘就的超现实画面，
A surreal image created by the combination of light and scenery ©山间影像 Shan-jian images

最绝的是日落的时候。太阳落到苍山后面，最后一道光从西面框进来，整个镜厅被点燃了——那种暖光跟紫色的地面混在一起，是任何灯光设计都做不出来的。我后来跟业主说，这个房间不要装太多灯，日落那半小时就是它最好的状态。

Sunset delivers its most breathtaking moment here. As the sun sinks behind Cangshan, a final streak of golden light slants into the chamber, igniting the violet floors in a glow no artificial lighting could replicate. I advised the owner to keep overhead fixtures minimal—those thirty minutes of twilight are the room’s finest feature, no embellishment needed.

▼消失的隔墙，The disappearing partition wall ©山间影像 Shan-jian images

▼镜厅将夕阳框进房间，Mirror Hall frames the sunset into the room ©山间影像 Shan-jian images

通往屋顶的楼梯间，我们做成了紫色的隧道。走上去的过程有点像穿过一个影子，从现实到非现实。隧道里有一扇窗，用黄色矩形框围绕。黑暗里那块黄是唯一的亮色，把露台、湖面、远山框成一幅会动的画。人在框里，也在画外。

We converted the stairwell leading to the roof into a violet tunnel, a liminal passage bridging mundane reality and the surreal world above. A rectangular yellow frame encloses a window set within the dim corridor; that single splash of brightness frames terraces, lake and distant peaks into a living, shifting painting. Visitors exist both within the framed view and apart from it.

▼紫色梦境，Purple Dream ©山间影像 Shan-jian images

▼紫色隧道中黄色的窗，The yellow window in the purple tunnel ©山间影像 Shan-jian images

▼透过黄色窗中的山水，Through the landscape in the yellow window ©山间影像 Shan-jian images

三层的四个房间，我们用了”风、花、雪、月”来定义。这四个字在大理说了几百年，下关风、上关花、苍山雪、洱海月，但真正把它们做成空间语言的，好像还不多。”风”的房间，屋顶挂了0.2毫米的电镀紫色不锈钢片。风一吹，钢片互相碰，叮叮当当的——风本来是看不见的，但在那个声音里，你突然觉得风是有形状的，充满了整个房间。这个做法一开始试的时候钢片做厚了，风吹不动，返工换了薄的。

The four suites on the top floor each draw their theme from Dali’s timeless fourfold ode: Wind, Flower, Snow, Moon. These four phrases have defined the region for centuries, yet few resorts translate them into tangible spatial language. The Wind Suite suspends 0.2-millimeter electroplated violet stainless sheets overhead. When gusts sweep through, the thin metal clinks softly, lending audible form to invisible wind. Our first prototype used thicker plates that refused to stir in the breeze, forcing a full rework of the installation.

▼风之装置，Wind device ©山间影像 Shan-jian images

“花”用彩色透明亚克力板，切割出花朵的不同切片，在房间里等距排开。自然光穿过去，地上、墙上都是花的颜色，从外向里渐变，像一朵从外面慢慢开到里面的花。苍山洱海被裹在花蕊中间。

The Flower Suite lines walls with cut panels of translucent colored acrylic, spaced evenly across the room. Natural light filters through the slices to cast gradient floral patterns across floors and walls, blooming inward toward a central focal point that frames Cangshan and Erhai as the flower’s heart.

▼花之装置，Flower Device ©山间影像 Shan-jian images

▼渐开的花将苍山洱海包裹其中，The gradually blooming flowers envelop Cangshan and Erhai Lake ©山间影像 Shan-jian images

▼亚克力板切割出花的片段，Fragments of flowers cut from acrylic board ©山间影像 Shan-jian images

“月”借了我早年的一个作品，”万宗归一”茶室。999根松木，从点到面再到体，搭出一个圆形的空间。端头放大的圆既是月亮的意象，又把苍山洱海框进去。整体上了紫色，光不同的时候，一会儿朦胧一会儿清亮。

The Moon Suite draws from an older installation of mine, the All-One Tea House, built from 999 pine timbers stacked from discrete points into a rounded volumetric form. An oversized circular aperture frames both the moon and the twin landscapes of mountain and lake. Coated in the signature violet finish, the space shifts from misty haze to crisp clarity with every shift in daylight.

▼月之装置，Moon device ©山间影像 Shan-jian images

▼在点线体中看月之苍海，Viewing the Azure Sea of the Moon in a Point, Line & Body ©山间影像 Shan-jian images

▼时而朦胧，时而清亮，Sometimes hazy, sometimes clear ©山间影像 Shan-jian images

“雪”从天棚上垂下来，层层叠叠，开孔渐变，远看像雪落在山顶上的样子。原来建筑周围那些钢结构的云状观景台，不仅把建筑的边界推了出去，也造出不少有趣的空间。庭院里有围着树的圆形石花池，上层弧形露台在庭院上方投下波浪状的阴影。紫色一铺，日常的庭院就有点不日常了。

For the Snow Suite, layered perforated panels hang from the ceiling, their graduated cutouts evoking snow drifts piled atop mountain summits when viewed from afar. Steel-framed cloud viewing decks wrap the original structure, pushing the building’s boundaries outward and carving intimate pockets into the grounds. Circular stone planters encircle mature courtyard trees, while curved upper terraces cast undulating wave shadows below. The wash of violet transforms ordinary courtyard greenery into something otherworldly.

▼雪之装置，Snow device ©山间影像 Shan-jian images

▼渐变的开孔如雪落在山顶，Gradual openings fall like snow on the mountaintop ©山间影像 Shan-jian images

半山坡上有棵树，长得很好，原来没办法靠近。我们在它周围做了云台，树就变成了一把巨大的绿伞——紫色平台上晃着树影，背后是苍山洱海。人站在树下，自己也就成了风景的一部分。

A lush mature tree stood trapped on the hillside, inaccessible to guests before construction. We wrapped a cloud-shaped viewing platform around its trunk, turning it into a vast green parasol. Violet surfaces catch its shifting foliage shadows, with Cangshan and Erhai stretching as the backdrop; anyone standing beneath the tree becomes part of the landscape itself.

▼苍山云影，Cloud on Cangshan Mountain ©山间影像 Shan-jian images

天黑以后，建筑变了一个人。白天的明艳收起来了，变成一座发着紫光的东西——说不上来是建筑还是装置。屋顶的点状灯和云朵装置的暖光，映在洱海的夜色里，远处看像浮在水面上的一轮月亮。LED灯带藏在挑檐底部和室内天花里，可以变色，建筑的情绪跟着切换。镜面反射着环境光，说不清是真实还是倒影。这个状态大概是我最喜欢的。白天极目是亮的、艳的、热闹的；到了晚上，它安静下来，紫色的光晕笼着整个建筑，像一个不太想让人靠近的秘密。

Night transforms the guesthouse entirely. Its bright, vivid daytime palette fades, leaving a violet-lit structure that blurs the line between architecture and sculptural art. Pinpoint roof lighting and warm glow from the cloud installation drift across Erhai’s dark waters, resembling a full moon floating on the lake surface. Concealed color-shifting LED strips line overhangs and interior ceilings, shifting the space’s entire mood on command. Mirrors catch ambient night light, blurring the divide between tangible space and reflected illusion. This after-dark atmosphere remains my favorite iteration of the property. By day, Jimu shines bright, bustling and vivid; after dusk, it settles into quietude, wrapped in a soft violet haze like a private secret barely shared with outsiders.

▼总体鸟瞰，Overall bird’s-eye view ©山间影像 Shan-jian images

建成后我去过一次。下午五点多，太阳矮了，紫色的平台开始反光，镜面把天、山和人都搅在一起。风过来，紫色的不锈钢片叮叮当当地响，声音不大，但在空旷的屋顶上很清楚。
有个客人坐在秋千上不说话。她的影子被镜面折了好几份，分不清哪个是真的。
大理的光很快就要暗下去，月亮正从苍山上缓缓升起。

I visited shortly after completion, arriving a little past five in the afternoon. The sun hung low, gilding the violet terrace and sending endless mirrored duplicates of sky, mountains and guests rippling across reflective surfaces. Wind stirred the thin violet stainless sheets overhead, their faint tinkling clear against the empty rooftop expanse.
One guest sat silent on the yellow swing. Her silhouette fractured into dozens of mirrored copies, and I could no longer distinguish which reflection held the real woman.
Dali’s daylight fades fast, as the moon climbs slowly over the ridges of Cangshan.

▼总体鸟瞰，Overall bird’s-eye view ©山间影像 Shan-jian images

建筑设计、室内设计与景观设计：米丈建筑
主持建筑师：卢志刚
设计团队：陈曦、黄聪毅、许展航、计贝芬
业主：大理慢屋极目酒店
地点：云南省大理市海东镇文笔村
建筑面积：约1200平方米
项目年份：2026
摄影：山间影像
撰文：卢志刚

Architecture, Interior Design & Landscape: MINAX
Principal Architect: Lu Zhigang
Design Team: Chen Xi, Huang Congyi, Xu Zhanhang, Ji Beifen
Client: Dali Manwu Jimu Guesthouse
Location: Wenbi Village, Haidong Town, Dali, Yunnan
Area: Approx. 1,200 sqm
Year: 2026
Photography: Shan Jian Image
Text: Lu Zhigang

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