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馬斯洛的“需求層次理論”指出，當人們的基本生理需求得到滿足后，他們會轉向追求更高層次的精神需求，如歸屬感和尊重感。在老齡化加劇的今天，這一理論的現實意義變得愈加明顯。根據中科院的研究，我國老年人的心理健康狀況令人擔憂，健康率不足30%。隨著物質條件的逐步改善，老年人的心理健康問題已經成為迫切需要解決的挑戰。中老年人的康養需求不再僅僅集中于身體的照護，他們也渴望擺脫孤獨感。這一需求轉變催生了療愈康養這一新興領域的發展。

Maslow's "hierarchy of needs" states that when people's basic physical needs are met, they move on to higher-level spiritual needs, such as belonging and respect. In today's aging, the practical significance of this theory becomes more and more obvious. According to the Chinese Academy of Sciences, the mental health of the elderly in China is worrying, with the health rate of less than 30 percent. With the gradual improvement of material conditions, the mental health of the elderly has become an urgent challenge that needs to be addressed. The health needs of middle-aged and elderly people are no longer just focused on physical care, they are also eager to get rid of loneliness. This shift in demand has led to the development of the emerging field of healing and wellness.

療愈康養的形式多種多樣，包括中醫藥療愈、森林療愈、溫泉療愈以及藝術療愈等，每種形式都充分利用自然資源和人文環境，為用戶提供放松身心和自我修復的空間。在全球范圍內，療愈經濟的崛起為療愈康養的發展創造了廣闊的市場前景。根據全球健康研究所的預測，到2025年，全球療愈經濟將以每年約10%的增長速度擴張，市場規模有望達到7萬億美元。

There are many forms of healing, including traditional Chinese medicine, forest healing, hot spring healing and art healing, each of which makes full use of natural resources and human environment to provide users with a space for relaxation and self-healing. On a global scale, the rise of the healing economy has created broad market prospects for the development of healing and health care. According to the Global Health Institute, the global healing economy will expand at an annual growth rate of about 10% by 2025, and the market size is expected to reach $7 trillion.

一、浙江 · 未遲千山

RESIDENTIAL DESIGN

屋頂是連接建筑與天空的紐帶，是空間的重要庇護所，也是建筑的核心元素。屋頂的形式邏輯受到兩個自然因素的影響：重力和雨水。重力作為永恒的自然法則，而雨水則是不斷變化的自然現象。抵抗重力和疏導雨水決定了屋頂形式的演變。隨著現代材料和力學的進步，自然因素不再是決定屋頂形式的主要因素，建筑展現出強大的人工成果，越來越像機器，其幾何純粹性和手工操作感（如切割、扭轉等）體現了現代人的雄心。然而，我們對建筑的哲學思考并非僅限于此；建筑不是對自然的征服，而是人與自然和諧共處的結果：引導自然的野性，呵護自然的生命力。

The roof is the link between the building and the sky, an important shelter for the space, and a core element of the building. The formal logic of the roof is influenced by two natural factors: gravity and rain. Gravity is an eternal law of nature, while rain is an ever-changing natural phenomenon. Resistance to gravity and drainage of rainwater determined the evolution of the roof form. With the advancement of modern materials and mechanics, natural factors are no longer the main factor in determining the form of the roof, and the building exhibits a strong artificial result, more and more like a machine, its geometric purity and the sense of manual operation (such as cutting, twisting, etc.) reflect the ambitions of modern people. However, our philosophical thinking about architecture is not limited to this; Architecture is not the conquest of nature, but the result of harmonious coexistence between man and nature: guiding the wild nature and protecting the vitality of nature.

高高地舉起屋頂，或從地面直立而起，或從墻邊支撐，水波形連續的屋頂成為導水的容器，將原本均勻落下的雨滴匯聚成線性的水路。水路沿著豎直方向奔涌而下，形成最為有力的疏導。“水滴石穿”是描述水力的古老形象。而在設計中，則是讓水路向下洞穿混凝土板，使水之力得以顯形。水從半層屋頂直接沿屋檐散落，跌入水塘之中，這種最質樸的落水方式是自由釋放的水的原始形態。在建筑二層，路徑必經之處，要穿過一處水塘，需要準備好步伐跨越水塘中的圓形汀步，如同雨天在野地里避開水坑踏水而行。

Raised high, upright from the ground, or supported from the sides of walls, the continuous wave of water on the roof becomes a vessel for water, bringing together the normally uniform rain drops into a linear waterway. The water runs down the vertical direction, forming the most powerful channel. "Dripping water wears through a stone" is an ancient image describing water power. In the design, the water is cut down through the concrete slab, so that the force of the water is visible. Water from the half floor of the roof directly along the eaves, falling into the pond, this most rustic way of falling is the original form of free water. On the second floor of the building, at the necessary point of the path, to cross a pond, you need to prepare your steps to cross the circular steps in the pond, as if you were walking to avoid a puddle in the field on a rainy day.

二、室內美學

RESIDENTIAL DESIGN

雨屋位于遠離城市的半山之中，周圍被竹林和農田環繞。兩座分開的村宅用一片大屋頂覆蓋。屋頂被圓柱撐起，雨水得以多種方式和路徑導向地面，形成一種無形和有形的對仗。于此，我們稱之為順水六式。2016年設計的“川房”，通過將金屬落水管直接展示在建筑的外立面上，創造了一種“川流而下”的水的隱喻，這是首次嘗試探索重力與雨水的視覺表達。而“雨屋”則進一步深化了對重力和雨水的探討，不僅在于形式的“暴露”，更體現了一種對自然的細致干預理念：“欲取之，先集之；欲馴之，先順之。”

The Rain House is located halfway up the mountain away from the city, surrounded by bamboo forests and farmland. Two separate village houses are covered by a large roof. The roof is supported by columns, and the rain can be directed to the ground in a variety of ways and paths, forming a kind of invisible and tangible opposition. Here, we call it Shunshui six. Designed in 2016, the "River House" creates a metaphor for the water "flowing down" by displaying metal downspout directly onto the building's facade, the first attempt to explore the visual expression of gravity and rainwater. The "Rain Room" further deepened the discussion of gravity and rain, not only in the form of "exposure", but also reflects a detailed intervention concept of nature: "to take it, first gather it; If you would tame it, you must tame it."

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