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第一原理（First Principle）最初是由亚里士多德提出的哲学概念，代表“一个最基本的命题或假设，不能被省略或删除，也不能被违反”。我们使用它作为对这个项目中复杂问题最基本的思考原则，从原初开始重新推演，剔除了僵化的经验式的空间语汇与个体过于主观的人为干预，在整个项目进程中不断溯源追问，以期从设计的过程和结果两个层面得到一个简单而接近项目本质的“第一性”空间。 As a philosophic concept originally taught by Aristotelians, a First Principle is “a basic proposition or assumption that cannot be deduced from any other proposition or assumption.” In this project, it was utilized as the fundamental rule to solve all relevant complex problems. All deductions began from the primary basics, excluding the rigid empirical spatial vocabulary and the individual's overly subjective human intervention. We constantly traced the source throughout the project, in order to obtain a "primary" space which is simple and close to the essence of the project, in terms of both design process and results. 
在千岛湖西侧水岸交界的金山坪村，自然环境的最大化引入与人工痕迹的最大化退让成为了第一设计原则。作为城市中喧嚣居住环境的反面，我们认为这个民宿空间最大的价值是帮助使用者得到内省式的自我回归。而这并非来自对外在环境的消极屏蔽，与之相反，在室内环境中，外部的自然环境恰恰成为了这一过程积极的路引。 In Jinshanping Village at the junction of the waterfront on the west side of Qiandao Lake, maximizing the introduction of natural environment and maximizing concession of artificial traces have become the first design principle. As the opposite of the noisy living environment in the city, we believe that the greatest value of this homestay space is to help users get an introspective self-return. And this does not come from the negative shielding of the external environment. On the contrary, in the indoor environment, the external natural environment has become a positive guide for this process. 
首先考虑的议题就是自然如何引入。 The first issue to consider was how to introduce nature. 框景作为最直接的空间操作手段，在第一时间即成为了讨论的焦点。我们在介入项目之初与已进入施工图阶段的建筑设计团队进行了多次立面的调整，看与被看的基本论题被反复推敲，直到最后达成了一个相对平衡的状态。 As the most direct means of spatial manipulation, framed scenery became the focus of discussion in the first place. At the beginning of our intervention in the project, we carried out many facade adjustments with the architectural design team that had entered the construction drawing stage. The basic topics of seeing and being looked at were repeatedly scrutinized until we finally reached a relatively balanced state. 
下一步，室内空间的物质性被最大程度地削弱。 Next, the materiality of the indoor space was maximally weakened. 在形式操作的层面，以装饰性的手段将所有建筑工业化的表达抹去，没有结构的暴露，也尽可能隐藏了机电的痕迹，平整的天地墙将空间的高潮引向窗外的自然本身。 At the level of formal operation, all the expressions of industrialization of the building were erased with decorative means. There was no structural exposure, and traces of electromechanics were hidden as much as possible. The flat ceiling, floors and walls led the climax of the space to the nature itself outside the window. 在材料操作的层面，用质朴的黑白灰色调与木材回应原始村落的记忆。不过分强调设计感也不刻意回避当代性，一切以和谐的氛围为主旨。 At the level of material manipulation, plain black, white and gray tones and wood were used to respond to the memory of the original village. Being not overemphasized the sense of design nor deliberately avoided contemporary, everything was based on a harmonious atmosphere. 
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