Project Background
This project is situated on the former site of an aluminum factory in Huli District, Xiamen City. Originally, the building served as the factory’s bathroom. In 2019, after the aluminum factory was converted into a modern park featuring bars, basketball courts, and live streaming spaces, the building underwent a partial renovation.
We were commissioned by Buddha statue artist Jiang Sheng to transform the building into a new studio and exhibition space. The goal was to create a tranquil oasis amid the city’s hustle and bustle, aptly named the “Extreme Paradise Field.”
The term “Jile” originates from Buddhism and refers to a realm beyond the ten trillion Buddhist worlds to the west. However, “Jile Field” is not intended to be an isolated pure land. The owners aim to discard notions of isolation and inaccessibility, instead crafting a spiritually captivating space.
Buddha’s Residence
This transformed space is designed specifically to showcase the Buddha statues of the Jiang family. It aims to reflect both human nature and the divine aspects of spirituality and religion.
At Buddhism’s inception, there was no tangible object of worship. With the rise of Mahayana Buddhism and advancements in technology, Buddhism entered the “Age of Imagery.” The challenge became how to use tangible Buddha statues and architecture to convey intangible spiritual perceptions.
After discussions with the owners, we agreed on a subtle and almost intangible architectural concept: the building acts as a medium for housing Buddha statues and embodying Buddhist essence. It serves as a “residence” for Buddha within the secular world.
The original building consists of three stepped blocks aligned from south to north, which we designate as Building 1, Building 2, and Building 3 based on their floor counts. Building 1 faces the street with numerous windows and is internally divided into five separate spaces. Building 2 features a tall magnolia tree on its east side and contains a two-story interior space. Building 3, located to the north, was formerly an office area with a grid of square windows on its facade.
△ Original architectural appearance
△ Original interior space
Inspired by the concept of “Buddha’s Residence,” we approached the renovation from the inside out. We sealed the exterior windows on Buildings 1 and 2 and removed internal walls in Building 1 to create a large, integrated “darkroom,” fostering an inward, enclosed atmosphere.
Within the exhibition hall, abundant white space and seamless backgrounds conceal structural details, allowing the Buddha statues to become the focal point.
We simplified and unified the building’s exterior by consolidating volumes and applying the same sandalwood yellow paint inside and out. Skilled workers manually applied a unique wall texture, harmonizing the facades of the three blocks that previously had distinct styles.
From a distance, a tall, dense magnolia tree becomes the visual centerpiece. The architectural forms fade softly into the tree canopy’s edges, evoking restraint and subtlety, as if the buildings almost disappear.
The Vessel of Light
The architectural form of the “Jile Field” almost disappears, making light a vital element of the space.
Xiamen’s southeast coastal location offers abundant sunshine and rainfall. Traditional local architecture features large sloping eaves and smaller windows to suit the climate. Drawing inspiration from this, we added 31 skylights in various shapes—circular, square, clustered, and isolated—atop the building to flood the interior with natural light.
This design creates two contrasting spaces: a bright main hall and a secluded darkroom, with Buddha statues arranged according to their lighting conditions.
△ Architectural sketches
The 28 circular skylights above the main hall are concave upwards. When sunlight strikes them at an angle, they produce flat light spots, creating a dense “rain of light” effect. The Buddha statues here are carved from dense, impermeable materials like wood and stone. As light reflects across their surfaces, light and shadow interplay dynamically with the shifting sun.
Adjacent to the main hall on the south side lies the darkroom. It features two square skylights of varying sizes and a long horizontal window near the base of one wall. Compared to the main hall, the lighting here is softer and more diffused.
The Buddha statues in this space are made from translucent materials such as glass and jade. Light gently scatters through cracks and edges, blurring the statues’ outlines and creating an ethereal, “iridescent” Zen atmosphere.
As seasons transition from winter to spring, the passage of intangible time is captured through the changing light. This silent flow, combined with the stable Buddha statues, expresses the artistic concepts of “eternity” and “permanence.”
Journey to the Pure Land Beneath the Jade Orchid Tree
During our initial site visit, we were struck by the grand magnolia tree beside the building’s east side. Although we did not initially identify its species, we prioritized preserving and incorporating it into the design, making it a landmark of the project.
Midway through design and construction, we were delighted to discover that the magnolia, as old as the building itself, had blossomed unexpectedly. Its fragrance even permeates the interior.
Post-renovation, the magnolia stands as a majestic, almost mystical artifact within the “Pure Land Field.” Its lush canopy softens the architectural forms, lending them an understated elegance.
The renovation of the street-facing doors and windows balances practicality with subtle exploration, adding a playful element to the building.
Guided by the magnolia, visitors enter the exhibition hall through a revolving door beneath the tree and arrive at a lowered reception area. From there, they follow the “light rain” created by the circular skylight array into the two-story exhibition hall.
A French window connects the main hall to the outdoor courtyard, blurring the lines between interior and exterior. On the south side, four doorways lead from the main hall to the first-floor darkroom, where light and shadow are deliberately contrasted.
A spiral staircase in the corner of the main exhibition hall ascends to the rooftop terrace.
Ascending the stairs leads to a rooftop terrace that overlooks the magnolia tree up close.
The terrace sits close to the magnolia, its scent refreshing and calming visitors.
A new outdoor staircase connects the offices in Buildings 2 and 3. To enhance openness and transparency, the heavy elevator shaft wall was removed and a skylight installed above the staircase.
Descending the staircase, bathed in shifting light and shadow, visitors reach the fashion exhibition halls and workshops spread across the first and second floors of the office building.
The building forms a continuous loop connecting the magnolia tree, Buddha statues and light, rooftop terrace, office space, and fashion exhibition, with the magnolia tree serving as both the starting and ending point.
Challenges and Limitations
From the outset, the “Jile Chang” project faced constraints related to construction costs and technical capabilities. Both the design team and owner embraced these limitations, which imparted a raw vitality to the architecture and space, contrasting with the refined Buddha statues.
For instance, the textured wall coatings used throughout the exterior and interior (ceilings, walls, and most spaces) were not readily available from local suppliers. To achieve the desired effect, the owner and construction team conducted extensive onsite experiments and sampling with us. Ultimately, skilled workers manually applied the textures through repeated layering.
This approach restored cohesion and recognition across the three buildings, which had originally been independent with inconsistent facade styles. Unfortunately, due to project delays, the exhibition hall floor—originally intended to highlight concrete lighting and Buddha statues—was replaced with a dark gray diamond sand finish consistent with the office area.
Moreover, the complex surroundings led to unexpected effects post-completion: the conference room’s originally neutral tones turned pink from reflection of a nearby red building, and the subtle gray window frames shifted to purple due to environmental influences. The owner chose to embrace these “accidents,” interpreting them as part of the “paradise” narrative.
Jiang Sheng’s vision for creating a “paradise field” aims to innovate both the visual presentation of Buddha statues and the spatial experience. Through this, the project aspires to offer fresh perspectives and insights into faith.
Before and After Renovation
Technical Drawings
△ Location Map
△ First Floor Plan
△ Second Floor Plan
△ Third Floor Plan
△ East Elevation View
△ South Elevation View
△ Section A-A
△ Section B-B
Project Information
Function: Exhibition hall, office, retail
Design Period: November 2019 – February 2020
Construction Period: February 2020 – June 2020
Location: Xiamen, Fujian, China
Floor Area: 842 square meters
Team: Xiao Lei, Yang Yuqiong, Lin Wenjun, Wang Han
Type: Architecture and Interior Design
Status: Completed
Photographer: Lei Tan Tan Tan
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