The most immersive shelter under the snowy mountains.

Xingshanyueying, a modern Tibetan-style B&B located under Mount Siguniang, MMCD is always shaped around the spirituality of local humanities and nature from the architecture to the interior, summoning the past with objects, framing the present with scenery, and experiencing the ultimate return of body and mind.

Human beings, mutual companionship with objects and nature

Mount Siguniang, where it's been since the beginning. Ice buckets, sunlight, rocks, storms, mist and air. Make up the most complex beauty of Mount Siguniang, Is what John Ruskin called“the endless clarity of space, the untiring reality of the eternal light”, On which we project our hopes, our dreams, our adoration, and our fears.We balk at approaching it mentally, But never really reach it.

Mount Siguniang is a holy snow mountain which is worshiped as “Sigula Mountain” by the ancestors of Jiajun Tibetan people. It is soaring and charming, no matter the sky is blue as washing, or storms come, it always stands there without moving. At the same time, every year tourists and outdoor explorers are endless here. Just this year, Mount Siguniang cross-country race, for the first time included in the cross-country Golden League World Series, and stood with the Alps Mont Blanc together.

Under Mount Siguniang, Xingshanyueying, a bed and breakfast based on modern Tibetan architecture, is the most immersive place to stay in the most hidden and beautiful folds of the earth.

Sequence of Light: Guidance in Space

Walls and holes, inches of light, inches of space. As a response to the existing conditions of the site, the entrance is guided by a light-permeable sheet wall. The law of spatial permeability is already revealed here. The strong sunlight of the plateau not only gives the building boundaries clear shadow lines, but also reduces the rhythmic shadow lines to a special spatial language, thus establishing the mood and perception of the space.

The lines of motion lengthen in meandering. The space is layered and penetrating. As one wanders, one's emotions are wrapped, guided and transformed by a constructed atmosphere of tranquility.

At the end of the line, there is a minimalist landscape. Compared to the reality of Mount Siguniang outside the door, this landscape, though seemingly simple, is a reflection of another spirit. It is placed at the end of the entrance passage in the way of “invitation”, with the unique sentiment of the oriental culture, which is the support of the life situation, the condensation of sensibility and the epitome of spirituality. It implies that the space is the ultimate requirement for spiritual sensibility.

Simplicity and clumsiness: the presence of the object

The interior of the hall is simple and genuine. With a one-story-high gap at the top, the south-facing sunlight casts light and shadow on the wall and floor, instantly pushing the spirituality of the space to a clear new height.

A row of candlesticks made from the beams of old Tibetan houses maintains a simple and ancient posture; the copper bells that summon yaks to their homes are hung between them; the candlelight flickers and reflects their luster. Such a simple and sincere expression is truly related to the bond between human beings and the material world, simple and warm. The stone smoke wall built by the local old masons completely dissolves the traces of design, returning to a pure moment of the past. In the untidy joints between the stones, the primitive power of the spirit of all things is at work.

In order to restore a delicate sense of life, the open bar is divided into two parts: the bar itself and the hanging components. The two parts, one above the other, are made of solid wood, iron and stone. Cooking utensils of various sizes, copper pots with two ears, and flat iron pots are all daily household objects, which are hung randomly to create a sense of scene, making people nostalgic and reminiscent of the past. The relationship between human and objects is once again brought closer, close to the fireworks and the daily life in the Tibetan pastoral tradition.

There are traces left by time on every object from the past, colors faded, surfaces polished. They have a beauty that comes from the ruins, dark and quiet, a slow spread of vitality. And this respect for ordinary things, itself contains an understanding of time. Things and time are silent, but they can always inspire a delicate and subtle resonance in the depths of one's consciousness.

Sitting and looking: the penetration of the landscape

The space establishes an inward-looking atmosphere, and also provides an outward-looking perspective of the snow-capped mountains and woodlands. One inside and one outside, the two perspectives of humanity and nature shift within the space and form a complete experience through the movement of people wandering through it.

By the fire pit are the open floor-to-ceiling windows, and in front of the dining table are the horizontal windows stretching across. The sunlight pours down at an angle, and outside the windows is a deciduous forest that changes and alternates throughout the year. Spring is full, summer is rich, fall is drenched in red, and winter is snow-capped all the way to the end of Yaomei Feng, where the snow never melts.

Moving inward: establishing order

The building has four floors. Stairs and corridors connect from the lobby to the guest rooms on each floor. Following the guidance of the moving lines, one explores the space in both vertical and horizontal directions, and new orders and moods are established. The staircase is shaped by a sense of folded sculpture, silent and astringent. The corridors, on the other hand, return once again to rhythmic light and shadow, building an echoing relationship in the narrative.

Attribution and belonging: the cession of time

The bedroom is a moment of solitude in its purest form, a place that is demanded by the ultimate in pampering. The use of solid wood continues throughout the interior, from the hall to the corridor to the bedroom. The gentle texture of solid wood nourishes the sense of belonging to the site in a silent way. It occurs naturally and provides a kind of care that is close to the skin. There are no narrow technical concepts here, no high-profile treatments. The design is always humble and restrained, sincerely accepting the natural traces of the material's own admission, just to be able to blend into the original landscape outside the window.

Inside the guest rooms, the light and shadows also have a soft and delicate change due to the more intimate atmosphere of the space. Wooden furniture, gray walls, soft textiles, and artifacts in light combine to create a venue where both spirit and will belong. Here, the quietly moving lines of shadow seem to make the passage of time traceable. Time gives way endlessly, and sunlight and snow-capped mountains shine endlessly.

Body and Mind: Return to Nature

The conversation with the snow-capped mountains finally opens up on the top floor terrace. The fire pit and the steamy open-air bath create a frank and primitive scene of intimacy. With nature, with heaven and earth as companions, watching the mountain of sunrise, watching the snow drift in winter, experiencing a complete return to nature from body to heart.

Extreme cold, intense sunlight, harsh snowstorms, biting peaks, many realities that are blocked out by modern society's daily routine, are retrieved one by one, and infinite levels and beauty are experienced.

Here, all the extreme conditions will, in the end, be fed back to the mind with the most sublime richness of experience, and with everything around them to form a kind of spiritual community, in which people are catalyzed and perceived. Ultimately, one becomes part of a beautiful scene.