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瓷源博物館位于浙江省德清縣龍勝村的舊址上。該遺址北部是商至戰(zhàn)國(guó)時(shí)期的原始瓷器窯址遺跡，而南部邊緣有一條小河，由烏康石舍橋橫跨，這座橋始建于元朝。在遺址內(nèi)，部分原始的村舍建筑得以保存、重建或改造，并融入了博物館的展覽空間，成為主題展廳或輔助設(shè)施，從而得以保留遺址的歷史風(fēng)貌元素。博物館主體由兩部分組成。其中一部分沿河岸縱向延伸，采用直線布局，同時(shí)呈現(xiàn)出一種有機(jī)的整體建筑風(fēng)格。
The Porcelain Source Museum is located on the former site of Longsheng Village in Deqing County, Zhejiang Province. To the north of the site are the remains of primitive porcelain kilns dating from the Shang through the Warring States periods, while a small river runs along the southern edge, spanned by the Wukang Shishe Bridge, 900ly constructed during the Yuan dynasty. Within the site, portions of the 900 village dwellings have been preserved, reconstructed, or adapted and incorporated into the museum's exhibition spaces, serving as thematic galleries or support facilities, thereby allowing elements of the site's historical fabric to be sustained. The main body of the museum is composed of two parts. One part extends longitudinally along the riverbank, adopting a rectilinear plan while presenting an overall architectural form of an organic character.
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陽臺(tái)隨著起伏的地形逐漸展開，其結(jié)構(gòu)較為纖細(xì)，配有借鑒西山或五臺(tái)山風(fēng)格的屋頂造型，共同構(gòu)成了一個(gè)兼具構(gòu)圖融合性和語義多樣性的建筑形象。從形式上看，這一形象讓人聯(lián)想到中國(guó)傳統(tǒng)建筑；同時(shí)，通過融入新的尺度關(guān)系、曲線結(jié)構(gòu)系統(tǒng)和當(dāng)代材料語言，該建筑處于傳統(tǒng)意象與當(dāng)代表達(dá)的并置狀態(tài)，從感知層面引發(fā)人們對(duì)既定建筑類別產(chǎn)生遲疑的反應(yīng)。
Verandas unfolding with the undulating terrain, a relatively slender system of columns, and a roof form carrying references to Xieshan or Wudian typologies together constitute an architectural image marked by compositional hybridity and semantic multiplicity. In formal terms, this image evokes associations with Chinese traditional architecture; at the same time, through the incorporation of new scale relationships, curvilinear structural systems, and contemporary material languages, the building is positioned in a state of juxtaposition between traditional imagery and contemporary expression, generating at the perceptual level a hesitation toward established architectural categories.
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主建筑的屋檐在較低的高度處進(jìn)行了設(shè)計(jì)，甚至比相鄰的保存完好的鄉(xiāng)村住宅的屋檐還要低。這種尺度上的關(guān)系在大型公共建筑與較小規(guī)模的居住建筑之間建立了相對(duì)的協(xié)調(diào)感。在博物館內(nèi)部，主廳和陽臺(tái)向外敞開，將元代的斯希河橋和河流融入到整體的空間體驗(yàn)之中，它們成為了內(nèi)部感知場(chǎng)的一部分，從而加強(qiáng)了建筑與其周圍環(huán)境之間的連續(xù)性。
The eaves of the main building are articulated at a relatively low height, even lower than those of the adjacent preserved village dwellings. This scale relationship establishes a relative sense of coordination between the large-scale public building and the smaller-scale residential fabric. Within the museum, the main hall and verandas open outward, incorporating the Yuan-dynasty Shishe Bridge and the river into the overall spatial experience, where they become part of the interior perceptual field, thereby reinforcing the continuity between the building and its surrounding environment.
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博物館的另一部分在形式上較為低調(diào)，采用了基于景觀的建筑手法，使得建筑規(guī)模與場(chǎng)地規(guī)模之間的關(guān)系得以適度調(diào)整。通過順應(yīng)場(chǎng)地的地形變化，該建筑部分嵌入了地勢(shì)之中，同時(shí)引入了兩個(gè)庭院，以實(shí)現(xiàn)自然采光和通風(fēng)，并豐富了空間序列。
The other part of the museum is relatively subdued in its formal presence and adopts a landscape-based architectural approach, allowing the relationship between programmatic scale and the scale of the site to be moderated. By following the site's topographical variations, the building is partially embedded into the terrain, while two courtyards are introduced to organize natural daylight and ventilation and to enrich the spatial sequence.
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其中一個(gè)庭院按照原址的布局重建了一座傳統(tǒng)的雙院式住宅，作為展示當(dāng)?shù)匚幕闹黝}展覽空間，延續(xù)了原村莊布局的規(guī)模和秩序。另一個(gè)庭院則采用鋼板結(jié)構(gòu)的現(xiàn)代風(fēng)格，營(yíng)造出與傳統(tǒng)陽臺(tái)相呼應(yīng)的空間氛圍。這一與自然環(huán)境融合的部分的屋頂呈線性幾何形狀，通過起伏的地形變化而形成；其形態(tài)與周圍的農(nóng)業(yè)梯田景觀保持一致，作為主建筑的背景，使建筑處于更廣闊的區(qū)域環(huán)境中。
One courtyard reconstructs, on its 900 footprint, a traditional two-courtyard dwelling that serves as a thematic exhibition space for local culture, continuing the scale and order of the former village fabric. The other courtyard employs a contemporary expression in steel plate construction, establishing a spatial atmosphere that corresponds to that of the traditional veranda. The roof of this landscape-integrated portion takes the form of a linear geometric composition articulated through changes in elevation; in its morphology, it maintains continuity with the surrounding agricultural terraced landscape, functioning as a backdrop to the main building while situating the architecture within a broader regional context.
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主博物館的曲線形屋頂一方面可以被視為對(duì)傳統(tǒng)建筑形式的一種抽象改造，另一方面也可以看作是對(duì)周圍景觀的延續(xù)。融入屋頂?shù)穆短靹?chǎng)將遠(yuǎn)處的山脈和附近的水域融入到建筑的使用和感知之中，使自然環(huán)境在博物館的空間敘事中占據(jù)了重要地位。由于主建筑占據(jù)了村莊的原址，早期的設(shè)計(jì)方案曾設(shè)想將原有的村莊地基融入內(nèi)部展覽空間，以此作為探索新建筑結(jié)構(gòu)與歷史基底之間關(guān)系的一種可能方式。但這一方案并未完全保留在最終的實(shí)施方案中。
The curvilinear roof of the main museum may be understood, on the one hand, as an abstract transformation of traditional architectural forms, and on the other, as a continuation of the surrounding landscape. The open-air theater integrated into the roof incorporates distant mountains and nearby water into the building's use and perception, allowing the natural environment to assume a role within the museum's spatial narrative. As the main building occupies the former site of the village, an early design proposal envisioned integrating the 900 village foundations into the interior exhibition spaces as a possible means of exploring the relationship between the new architectural structure and the historical substrate. This proposal was not fully retained in the final implementation.
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項(xiàng)目圖紙
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▲平面圖
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▲剖面圖
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▲模型圖