崇州·竹艺村游客中心是小隐建筑继宜宾·竹枝书院后又一次关于四川“竹文化”的建筑实践，也是对“意象建筑”理论更深入的思考与应用。

Chongzhou – Bamboo Craft Village Visitor Center is another architectural practice of Sichuan “bamboo culture” by Archermit after Yibin – Bamboo Academy, which is also a deeper consideration and application of the theory of “imagist architecture”.

▼雨后傍晚的竹编大屋顶，Bamboo woven roof in the evening after rain © 小隐建筑

意象建筑理论的宗旨是在保证建筑的功能要求和视觉效果的同时，以自然环境和人类文化背景为出发点，运用创新的技术和独特的美学元素，实现建筑的美学性与实用性的平衡，最大限度地满足人们的审美需求，从根本上重新审视建筑设计的意义和价值，让建筑拥有更多的可能性以及更高的层次，促进建筑与社会之间的友好相处关系，以应对新时代的需求。

The purpose of imagist architecture theory is to ensure the functional requirements and visual effects of architecture while taking the natural environment and human cultural background as the starting point, using innovative technology and unique aesthetic elements to achieve a balance between aesthetics and practicality of architecture, to satisfy people’s aesthetic needs to the maximum extent, to fundamentally re-examine the meaning and value of architectural design, to give architecture more possibilities and a higher level In addition, we will promote a friendly relationship between architecture and society in order to meet the needs of the new era.

▼竹根上长成的大屋顶，Big roof grown from bamboo roots © 小隐建筑

古往今来，人们都在努力追寻自己心目中的“美好生活”，这种“美好”更多的是一种“场景化”的存在，包含了现实与想象。我们认为建筑是在特定的时间，人与物理空间进行交互的一种行为。建筑不仅仅包含空间本身，更包括人与建筑的情感认知关系，没有人参与的建筑，不能赋予人行为引导和情感想象的建筑，都如同废墟，不能成其为真正意义的建筑。

Throughout the ages, people have been trying to pursue the “beautiful life” in their minds. This “beautiful life” is more of a “scenario-based” existence, including reality and imagination. We think architecture is an act of human interaction with physical space at a specific time. Architecture not only includes the space itself, but also the emotional cognitive relationship between people and buildings. A building without human participation, a building that cannot give people behavior guidance and emotional imagination, is like a ruin, and cannot be a real building.

▼傍晚横卧的大竹笋，Project in evening © 存在建筑

意象建筑理论的核心思想是“以意赋象，以象见意”。而意象作为人与自然相通的媒介，就是一种“场景化”的存在。意象建筑理论以实现建筑的美学性和实用性的平衡为追求，建筑的本质不仅仅只是满足功能性需求，而是要以一种全新、有创意的现代多元形式，将时代背景、文化传统和文化意识融入到建筑中，设计出拥有全新美感和原创性的新型建筑，让建筑拥有更强大的生命力和活力，成为给人以愉悦和感动的空间。创造全新多维空间体验，营造具有感情和生命力的诗意空间环境，构建“美好生活”的场景，这一直是小隐建筑的实践内容。

The core idea of the theory of imagist architecture is ‘Giving images to space with imageries, seeing new imageries through images of space’. Imagist, as a medium of communication between man and nature, is a kind of “scenario-like” existence. The theory of imagery architecture pursues the balance between aesthetics and practicability of architecture. The essence of architecture is not only to meet the functional requirements, but to integrate the background of the times, cultural traditions and Cultural awareness is integrated into the architecture, and new buildings with brand-new aesthetics and originality are designed, so that the buildings have stronger vitality and vitality, and become a pleasant and moving space. Creating a new multi-dimensional space experience, creating a poetic space environment with emotion and vitality, and constructing a “beautiful life” scene have always been the practical content of Archermit.

▼竹根在大树间搭起的桥，A bridge of bamboo roots between big trees © 小隐建筑

意象建筑的核心要素“意象”可分为 “自然意象”和 “人文意象”。自然意象包括自然环境中的景观、色彩、光线以及自然几何形状等元素，例如：日月星辰、江河湖海、花草树木、飞禽走兽、气候季象等。也包括人对大自然的思考和追求。自然意象不仅仅只局限于自然形态，它还可以从自然皆存的规律、活力和美感特征中寻求灵感，大胆运用自然元素，使建筑设计不仅符合实用性原则，更丰富人们的审美体验，打造具有个性特色的建筑空间。

人文意象包括文化意象和社会意象，指建筑设计中的一些历史传统以及民族文化的表现形式，例如：语言、服饰、饮食、建筑、文学、艺术、历史、交通等。使用当地特有的材料来建造房屋；引入当地的建筑元素；把历史文化和传统文化融入到建筑设计中；将场地自然环境融入到建筑设计中，使建筑同时符合人类和自然的需求等等都是常见的人文意象的表现。

The core element “imagery” of imagist architecture can be divided into “natural imageries” and “humanistic imageries”. Natural imageries includes elements of the natural environment such as landscape, colour, light and natural geometric shapes, such as the sun, moon and stars, rivers, lakes and seas, flowers, trees, birds and beasts, climate and seasons, etc. It also includes people’s thinking and pursuit of nature. Natural imagery is not limited to natural forms, it can also seek inspiration from the laws, vitality and aesthetic characteristics that exist in nature, boldly use natural elements, so that architectural design not only conforms to the principle of practicality, but also enriches people’s aesthetic experience and creates architectural spaces with individual characteristics.

Humanistic imageries includes cultural imageries and social imageries, which refers to some historical traditions in architectural design and expressions of national culture, such as: language, clothing, food, architecture, literature, art, history, transportation, etc. Use local materials to build houses; use local architectural elements; integrate historical culture and traditional culture into architectural design; integrate the natural environment of the site into architectural design. Making buildings meet the needs of both humans and nature is a common manifestation of humanistic imagery.

▼破土意境图，Concept © 小隐建筑

▼竹的一些特殊形态，Special forms of bamboo © 小隐建筑

竹枝书院以竹丛和竹枝两个自然意象“赋象”和“见意”，而竹艺村游客中心则以竹笋、竹鞭和竹编三个自然和人文意象“赋象”和“见意”。

The Bamboo Academy uses two natural imageries, the bamboo bush and the bamboo branch, to ‘give images’ and ‘see imageries ‘, while the Bamboo Craft Visitor Centre uses three natural and human imageries, the bamboo shoot, the bamboo whip (slender underground stem of bamboo) and the bamboo weave, to ‘give images’ and ‘see imageries ‘.

▼匍匐在地上的游客中心，The visitor center prostrate on the ground © 存在建筑

▼序列井然的廊桥，Well-ordered gallery bridge © 存在建筑

“以意赋象，以象见意”强调以特殊的建筑元素构建建筑场景，表达出自然和人文意象，以表现空间优美的精神内涵。意象不仅限于自然、人文的象征示喻，更是一种概念衍生，以特定的结构形式、材质、光影、色彩等来表达空间和美学，让空间更富有叙事性和主题感。

“赋象”是指通过挖掘探寻与目标建筑相关联的一切自然和人文意象，为建筑创作找到合适的象源，将它转化为设计原型象胚，再由象胚派生为形象，最终转化为建筑形式或者空间形式，赋予建筑直接可读性和可识别性。

“见意”是指对既得的象胚和形象经过特定的场景化处理，构建不同形式的场景，丰富空间的文化属性，从而形成叙事性的建筑空间，表达出特定的审美观点和文化认同感，引发情感共鸣，实现艺术性。

‘Giving images to space with imageries, seeing new imageries through images of space’ emphasizes the construction of architectural scenes with special architectural elements, expressing natural and humanistic images, and expressing the spiritual connotation of beautiful space. Imagery is not limited to the symbolic metaphor of nature and humanities, but also a concept derivative, expressing space and aesthetics with specific structural forms, materials, light and shadow, colors, etc., making the space more narrative and thematic.

” Giving images ” refers to finding a suitable image source for architectural creation by digging and exploring all natural and humanistic imageries associated with the target building, transforming it into a design prototype imagery embryo, and then deriving from the image embryo into an image, and finally transforming it into Architectural form or spatial form, which gives buildings immediate readability and recognizability.

▼保留下来的树木与建筑建立起新的秩序，The remaining trees and buildings establish a new order © 小隐建筑

赋象——可读性。通过摹刻、复现、抽象、解构等方式获取原型，为建筑赋象。通过建筑形式、材质、色彩、图形等元素，来营造建筑所蕴含的人文和自然意象。

“Seeing imageries ” refers to the construction of different forms of scenes through specific scenographic processing of the acquired imagery embryos and images, enriching the cultural attributes of the space, thus forming a narrative architectural space, expressing a specific aesthetic viewpoint and cultural identity, triggering emotional resonance and realising artistry.

▼老游客中心旁破土的竹笋，Bamboo shoots break through the ground near the old visitor center © 小隐建筑

▼游客中心基地原貌，Original state of the visitor center site © 小隐建筑

项目基地原是一座川西四合院民宅，门前有一片菜园子，四合院和菜园子的地势是比周围低1.5米左右的洼地，西侧屋后高高的山丘上植被茂盛，东侧和北侧也有几颗醒目的大树。根据前期对竹艺村的踏勘调研，提取了四个与竹艺村联系紧密的象源作为核心建筑意象：竹笋和竹鞭两个自然意象，竹编和瓦屋面两个人文意象。踏勘途中在老游客中心旁边正巧撞见三个破土而出的竹笋，春笋破土而出的场景触动心灵，那种“向上的力量”便成为我们赋予新游客中心的场所精神，也成为这个新生建筑的意境。结合场地的综合分析研究，我们希望这座建筑似刚出土的春笋匍匐在大地之上，与自然融为一体，却又充满一种奋力向上挣脱大地束缚的生命力。

The project site was originally a siheyuan in western Sichuan. There was a vegetable garden in front of the gate. The terrain of the courtyard and the vegetable garden was a depression about 1.5 meters lower than the surrounding area. The vegetation was lush on the high hill behind the house on the west side. There are also several striking trees on the east and north sides. According to the previous survey and investigation of the bamboo craft village, four image sources closely related to the bamboo craft village were extracted as the core architectural imageries: two natural imageries of bamboo shoots and bamboo whips, and two humanistic imageries of bamboo weaving and tile roofs. During the site visit, we happened to see three bamboo shoots popping out of the ground next to the old visitor center. The scene of the spring bamboo shoots breaking out of the ground touched the soul. The “upward force” became the place spirit we gave to the new visitor center, and also became the essence of this new building. Combined with the comprehensive analysis and research of the site, we hope that this building will crawl on the ground like a spring bamboo shoot that has just been unearthed, blending with nature, but full of vitality that is struggling to break free from the shackles of the earth.

▼竹笋转译的建筑主体，Exterior view of the building © 存在建筑

竹林中随处可见蜿蜒绵亘在地表的竹鞭，它既能贮藏和输送养分，又有很强的繁殖能力。竹鞭上的芽有的长成新鞭，在土壤中继续蔓延生长，有的发育成笋，出土成竹，然后逐渐发展成竹林。竹鞭的形态和功能转化为游客中心前端的长廊坡道，长长的曲廊穿梭在大树间，不但解决了建筑高差和残疾人坡道的问题，也成为输送游客的重要通道。

Bamboo whips can be seen everywhere in the bamboo forest, which can not only store and transport nutrients, but also have strong reproductive ability. Some of the buds on the bamboo whip grow into new whips, which continue to spread and grow in the soil, and some develop into shoots, which become bamboo when they are unearthed, and then gradually develop into a bamboo forest. The shape and function of the bamboo whip are transformed into a promenade ramp at the front of the visitor center. The long curved corridor shuttles among the big trees, which not only solves the problems of building height difference and ramps for the disabled, but also becomes an important channel for transporting tourists.

▼竹鞭转译的长廊，Corridor of bamboo © 存在建筑

竹笋中空且呈椎体，外表被笋壳层层包裹，这种特殊的中空构造顺其自然的转化为游客中心的功能空间。根据功能需求，构建了大小不一的三个竹笋形体组合。为了强化建筑奋力向上挣脱大地束缚的表现力，我们将第三个竹笋横卧剖开，顺势而生。

The bamboo shoots are hollow and cone-shaped, and the exterior is covered by layers of bamboo shoot shells. This special hollowness is naturally transformed into the functional space of the visitor center. According to the functional requirements, a combination of three bamboo shoots of different sizes was constructed. In order to strengthen the expressive force of the building struggling upwards to break free from the constraints of the earth, we cut the third bamboo shoot horizontally to grow along the trend.

▼入口长廊及残疾人坡道，Entrance promenade and handicapped ramp © 存在建筑

▼竹青编织的装饰幕墙，Decorative curtain wall © 小隐建筑

见意——叙事性。通过再现、转译、组合、联想等方式构建场景，建立人与建筑情感认知交互的媒介，让建筑具有叙事功能。选择合适的意象作为目标意境的载体和形式，通常可以运用突出的形象元素，以及独特的文化符号等来构筑体系，再利用意象的组合与升华来突出空间特色，令其具备独特的空间气质；可以将众多关联性的意象融合，使建筑具有强烈的主题性，以表达该建筑的思想内涵，营造出有意义、有深意的建筑场景，赋予建筑直观而强大的叙事功能。

Seeing imageries – Narrative. Construct scenes through representation, translation, combination, association, etc., and establish a medium for emotional cognitive interaction between people and buildings, so that buildings can have a narrative function. To choose a suitable imagery as the carrier and form of the target artistic conception, we can usually use prominent image elements and unique cultural symbols to build a system, and then use the combination and sublimation of imageries to highlight the spatial characteristics, so that it has a unique spatial temperament; Many related imageries can be integrated to make the building have a strong theme to express the ideological connotation of the building, create a meaningful and profound architectural scene, and endow the building with an intuitive and powerful narrative function.

▼赋象见意的过程，Process of visualizing and perceiving © 小隐建筑

竹艺村作为国家级非遗竹编小镇，是“中国民间艺术（竹编）之乡”，竹编的历史最早可以追溯到两千多年前的秦朝，编制材料、工艺独特。竹艺村拥有大量的川西林盘院落，游客中心的前身便是其中一座。竹编、瓦屋面、院子自然而然成为表达地域文化的重要载体。

As a national intangible cultural heritage bamboo weaving town, Bamboo Craft Village is the “hometown of Chinese folk art (bamboo weaving)”. The history of bamboo weaving can be traced back to the Qin Dynasty more than 2,000 years ago, with unique weaving materials and craftsmanship. Bamboo Craft Village has a large number of forest plain courtyards in western Sichuan, and the predecessor of the visitor center is one of them. Bamboo weaving, tiled roofs, and yards naturally become important carriers to express regional culture.

▼竹青编织的竹笋形态大屋顶，The big roof is made of bamboo © 小隐建筑

竹笋形态的大屋顶和装饰幕墙，采用长条状的深灰色铝镁锰板和半透明聚碳酸酯板两种虚实对比强烈的材料编织而成，将竹编的形态和技艺突显出来。深灰色的铝镁锰板酷似竹青，而层层叠叠的板材亦呈现出川西瓦屋顶的神韵。竹编的形式以最直截了当的方式从建筑的整体形态和外观展现出来，形成第一重叙事场景。

The large roof and decorative curtain wall in the shape of bamboo shoots are woven with two contrasting materials, long strips of dark gray aluminum-magnesium-manganese boards and translucent polycarbonate boards, highlighting the form and technique of bamboo weaving. The dark gray aluminum-magnesium-manganese boards resemble green bamboo, and the layers of boards also present the charm of the Western Sichuan tile roof. The form of bamboo weaving is displayed from the overall shape and appearance of the building in the most straightforward way, forming the first narrative scene.

▼入口曲廊夜景，Night view of entrance gallery © 小隐建筑

▼悬空视觉的主体和曲廊，Suspended from of the main building © 存在建筑

立柱密布的入口曲廊与节状的竹鞭形态呼应，接待大厅高高耸起的尖顶，正如竹鞭上发育而成刚破土而出的大竹笋。他们与周边的竹丛和大树形成第二重叙事场景。

The entrance corridor with dense columns echoes the shape of the nodular bamboo whip, and the towering spire of the reception hall is like a large bamboo shoot that has just broken out of the ground developed on the bamboo whip. They form the second narrative scene with the surrounding bamboo bushes and big trees.

▼竹编结构形式的屋架构造，Roof structure © 小隐建筑

▼竹编形式的吊顶，Suspended ceiling © 存在建筑

为了强化建筑的竹编文化属性，竹笋大屋顶的内部结构按照传统竹编骨架的方式设计，接待大厅的室内吊顶也采用长条状的木色铝板和半透明聚碳酸酯板编织而成，非常直观的展现了竹黄竹编的形式。出挑深远的大屋顶与厅外的环廊将屋外的绿色框成一幅幅图画引入室内，斑驳柔和的光线透过聚碳酸酯板进入大厅，光影随着时间在厅内舞动，形成第三重叙事场景。

In order to strengthen the cultural attributes of bamboo weaving in the building, the internal structure of the bamboo shoot roof is designed according to the traditional bamboo weaving skeleton. The indoor ceiling of the reception hall is also woven with long strips of wood-colored aluminum panels and translucent polycarbonate panels, which is very intuitive. It shows the form of bamboo and yellow bamboo weaving. The overhanging and far-reaching large roof and the circular corridor outside the hall frame the green outside the house into pictures and introduce them into the room. The mottled and soft light enters the hall through the polycarbonate board, and the light and shadow dance in the hall with time, forming the third narrative scenes.

▼天井俯瞰，Patio view © 小隐建筑

▼天井里的瓦片、砾石、青苔、竹子，Shingles, gravel, moss, bamboo in the patio © 存在建筑

▼天井里的小竹笋，Baby bamboo shoots in the patio © 存在建筑

两个竹笋的缝隙间嵌入的小天井，也同时将原建筑川西合院的基因与记忆嵌入游客中心，天井里的瓦片、砾石、青苔、竹子，成为串联接待大厅、竹编文化展厅和后勤办公的绿岛，形成第四重叙事场景。

The small patio embedded in the gap between the two bamboo shoots also embeds the genes and memory of the original Western Sichuan Courtyard into the visitor center. The small patio embedded between the gap of two bamboo shoots also simultaneously embeds the genes and memories of the original building, the Sichuan Western Compound, into the visitor centre. The tiles, gravel, moss and bamboo in the patio become a green island linking the reception hall, the bamboo weaving culture exhibition hall and the back office, forming the fourth narrative scene.

▼竹编文化展厅，Bamboo weaving culture exhibition Hall © 小隐建筑

▼月洞门里的竹林，View of the bamboo forest from the moon gate © 小隐建筑

小竹笋的内部是竹编文化展厅，顶部以更加复杂的竹编形式呈现，厅内引入传统园林的月洞门增加了展厅空间的序列节奏，也借此将窗外的竹林呈现出不同的场景感，形成第五重叙事场景。

The inside of the small bamboo shoots is the exhibition hall of bamboo weaving culture, and the top is presented in a more complex form of bamboo weaving. In the hall, the moon gate of the traditional garden is used to increase the sequence rhythm of the exhibition hall space, and also to present the bamboo forest outside the window with a different sense of scene, forming the fifth narrative scene.

▼竹廊形式转译的多功能厅吊顶，Ceiling of the multi-function hall © 小隐建筑

多功能厅由竹林中最常见的拱形空间形式构建，每颗柱子都长成茂密的竹丛，竹丛弯腰交叠形成拱形，拱形又以仿木铝圆管编织而成，竹林与竹编两种形式的巧妙融合营造了第六重叙事场景。

The multi-functional hall is constructed by the most common arched space form in the bamboo forest. Each pillar grows into a dense bamboo clump, and the bamboo clumps bend and overlap to form an arch, which is woven with wood-like aluminum round tubes. The ingenious fusion of the two forms of bamboo weaving creates the sixth narrative scene.

▼游客中心北侧的大广场，Square on the north side of the visitor center © 存在建筑

▼房前的镜面水景，The mirrored water feature in front of the house© 存在建筑

▼油菜和水稻轮种的自然田野，Natural fields where rape and rice are rotated © 小隐建筑

每一座建筑的落成总是存在各种艰难险阻，每一次的建筑实践都会有喜有忧，游客中心最终的呈现结果也有两处遗憾之处。北侧空地以竹根切面的形式设计的“百竹博览园”，希望能让游客更多的了解竹的品类，又能以竹丛的形式优化整个建筑意境，最后呈现变成了一个大广场；房前的菜园子原本希望保留油菜和水稻轮种的自然田野状态，尽可能让建筑融入原有的川西林盘环境，最后呈现变成了没有生机的镜面水景观。建筑实践是一项纷繁复杂的工作，理想中的建筑可能会因为诸多因素不能完美实现，但我们希望能做得更好，将“意象建筑”的实践之路走的更宽更远。

There are always various difficulties and obstacles in the completion of each building. Every architectural practice will have joys and sorrows. There are also two regrets in the final presentation of the visitor center. The “Hundred Bamboo Expo Garden” designed in the form of bamboo root sections in the open space on the north side originally hoped to let tourists know more about the types of bamboo and optimize the artistic conception of the entire building in the form of bamboo clumps, but in the end it turned into a large square; the vegetable garden in front of the house originally hoped to preserve the natural field state of rapeseed and rice rotation, and try to make the building blend into the original forest environment in western Sichuan, and finally presented a lifeless mirror water landscape. Architectural practice is a complex work. The ideal building may not be perfectly achieved due to many factors, but we hope to do better and take the practice of “imagist architecture” wider and farther.

▼聚集在长廊前的当地人，Local people gathered in front of the corridor © 存在建筑

竹艺村游客中心为当地人带来一个聚集的机会，让人们重新认识这个熟悉的乡村，感受乡村振兴给他们的生活带来的变化；也会给城市中的人一个放松的机会，在这里亲近自然，重新了解竹编文化，体悟竹与手艺人之间最直接的对话。

The project provide an opportunity for local people to gather, let people re-understand this familiar village, and experience the changes that rural revitalization has brought to their lives; It will also give people in the city a chance to relax, get close to nature, re-understand bamboo weaving culture, and experience the most direct dialogue between bamboo and artisans.

▼树林间的游客中心，The tourist center in the woods © 存在建筑

意象建筑关于实用主义和美学平衡的新模式，可以帮助建筑师和建筑体验者更加深入地了解客观世界，认识到建筑设计不仅是一门艺术形式，更是文化的象征与传承。通过意象将建筑设计从狭义的形式美学中抽离，实现更为实用的审美，从根本上重新审视建筑设计，重新塑造建筑设计与审美之间的平衡。我们希望意象建筑的实践和推广能将实用主义和美学平衡这一概念变得容易理解和掌握，用直截了当的意象描述，让建筑能同文字一样，被大众更容易的解读，并迅速理解把握建筑师所传达的“建筑意义”，把抽象的理论概念变为具体新颖的设计表述，带来了新的思路和可能性。意象建筑坚持以创造性的构建空间为出发点，通过意象实现人、自然、建筑三者的平衡关系，表达出一种特定的审美观点和文化认同感，达到艺术性的场景体验，让人深入思考和欣赏建筑和美学之间的关系。

The new mode of imagist architecture on pragmatism and aesthetic balance can help architects and architectural experiencers understand the objective world more deeply, and realize that architectural design is not only an art form, but also a symbol and inheritance of culture. Through imagery, architectural design is separated from formal aesthetics in a narrow sense, to achieve a more practical aesthetic, to re-examine architectural design fundamentally, and to reshape the balance between architectural design and aesthetics. We hope that the practice and promotion of imagist architecture will make the concept of a balance between pragmatism and aesthetics easy to understand and grasp, using straightforward imagery to describe architecture in a way that is as easy to interpret as words, and to quickly grasp the ‘architectural meaning’ conveyed by architects, turning abstract theoretical concepts into specific and innovative design expressions, bringing new ideas and possibilities. Imagist architecture insists on the creative construction of space as a starting point, achieving a balanced relationship between man, nature and architecture through imagery, expressing a specific aesthetic viewpoint and cultural identity, achieving an artistic scene experience, and allowing people to think deeply and appreciate the relationship between architecture and aesthetics.

▼总平面图，Master plan © 小隐建筑

▼一层平面图，1F plan © 小隐建筑

▼二层平面图，2F plan © 小隐建筑

▼屋顶平面图，Roof plan © 小隐建筑

▼剖面图，Section © 小隐建筑

主创团队：小隐建筑事务所
主持建筑师：潘友才
设计总监：杨喆（合伙人）
技术总监：陈仁振（合伙人）  
结构工程师：杜旭
设计团队：李紫涵、胡沁梅、杨锐、苟源君、何仪、孟喆、肖思维（实习）
景观设计团队：崇州文旅集团——四川中瑞锦业文化旅游有限公司
施工图团队：成都美厦建筑设计有限公司
业主单位：崇州文化旅游投资集团有限公司、崇州市蜀兴投资有限公司
施工单位：四川希腾建设集团有限公司
摄影：存在建筑、小隐建筑
撰文：潘友才 葛祥鑫
项目地址：四川省崇州市道明镇竹艺村
建筑面积：988平方米
建成时间：2022年3月