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Appreciation towards Atelier Deshaus for providing the following description:

瓷之源博物馆位于浙江省德清县龙胜村旧址。基地北侧不远处分布着商周至战国时期的原始瓷窑遗址，南侧临一条小河，河上横跨着始建于元代的武康石社桥。场地内部原有的部分村落民居被保留、复建或改建，并纳入博物馆的展陈空间之中，作为专题展厅或配套服务空间，场所的部分历史肌理得以延续。

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, originally constructed during the Yuan dynasty. Within the site, portions of the original 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.

▼博物馆群落东侧鸟瞰，Aerial view of the east side of the museum © 是然建筑摄影

▼博物馆隔小河鸟瞰，Aerial view of the museum across the river © 是然建筑摄影

▼保留的民居与博物馆，Preserved residences and museums © 是然建筑摄影

▼保留民居群落内庭，Preserve the inner courtyards of the residential community © 是然建筑摄影

▼博物馆北入口空亭看远山，The open pavilion at the north entrance of the museum offers a view of the mountains © 是然建筑摄影

博物馆主体由两部分构成。其中一部分沿河岸长向展开，采用方正的平面组织，却赋予有机的建筑形体。顺应起伏地形展开的檐廊、较为纤细的支柱体系，以及带有歇山或庑殿意向的屋顶，共同构成了一种具有复合和多义特征的建筑形象。这一形象在形式上能唤起对中国传统建筑的联想，又因纳入了新的尺度关系、曲面结构与当代材料语言，使建筑在传统意象与当代表达之间形成一种并置，并在感知层面引发对既有建筑范畴的迟疑。

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. 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.

▼博物馆南侧隔小河外观，The exterior of the museum across a river to the south © 是然建筑摄影

▼博物馆西南外观，The southwest exterior of the museum © 是然建筑摄影

▼博物馆主广场，The main square of the museum © 是然建筑摄影

▼博物馆广场水庭，The water court in the museum square © 是然建筑摄影

主体建筑的檐口被处理得较为低矮，甚至低于毗邻保留村落民居的檐口高度。这一尺度关系在体量较大的公共建筑与小尺度民居之间，构建出一种相对的协调性。博物馆内部，大厅与檐廊向外展开视线，元代石社桥与河流被纳入整体空间体验之中，成为建筑内部感知的一部分，从而加强了建筑与周遭环境之间的连续性。

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.

▼隔社桥远眺博物馆，Looking at the museum from across the Shishe Bridge © 是然建筑摄影

▼社桥与瓷之源博物馆，The Shishe Bridge and the Porcelain Source Museum © 是然建筑摄影

▼南侧步行桥上看博物馆，View the museum from the south pedestrian bridge © 是然建筑摄影

▼博物馆室内大厅，Indoor hall of the museum © 是然建筑摄影

▼博物馆室内中廊，The indoor corridor of the museum © 是然建筑摄影

博物馆的另一部分在形态上相对消隐，采用地景建筑的方式，去调节体量需求与场所尺度之间的关系。通过顺应场地高差，将建筑半嵌入地形之中，并引入两个庭院，以组织自然采光与通风，同时丰富了空间层次。其中一个庭院在原址复建了一处两进民居院落，作为地方文化专题展厅，延续了原有村落空间的尺度与秩序；另一个庭院则采用钢板结构的当代表达方式，在空间气氛上与传统檐廊形成呼应。地景建筑部分的屋顶呈现为具有高差变化的直线几何构成，其形态与周边农耕圩田景观形成连续性，构成主体建筑的背景，同时也将建筑纳入更广阔的地域景观之中。

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. One courtyard reconstructs, on its original 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.

▼博物馆屋顶肌理与乡野地景，The texture of the museum’s roof and the rural landscape © 是然建筑摄影

▼从半地下展厅的屋顶看保留的村落民居与远山，From the roof of the semi-underground exhibition hall, one can see the preserved village houses and distant mountains © 是然建筑摄影

▼从博物馆屋顶看民居庭院，Viewing the courtyards of residential buildings from the roof of the museum © 是然建筑摄影

▼博物馆屋顶室外剧场，Outdoor theater on the roof of the museum © 是然建筑摄影

▼屋顶与远山落日，The rooftop and the setting sun over the mountains © 是然建筑摄影

▼南侧夜景，Night view on the south side © 是然建筑摄影

主体博物馆的曲面屋顶，一方面可被理解为对传统建筑形式的抽象回应，另一方面亦可视为地景的延续。屋顶上的露天剧场将远山与近水纳入建筑的使用与感知之中，使自然环境本身成为博物叙事的一部分。由于主体建筑覆盖于原有村落旧址之上，设计初期曾提出在内部展陈空间中结合原有村落基址的设想，作为探索新建筑结构与历史基址之间关系的一种可能方式。该设想在最终实施过程中未被完整保留。

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 original 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.

▼模型，model © 大舍建筑设计事务所

▼平面图，map plan © 大舍建筑设计事务所

▼1F平面图，1F plan © 大舍建筑设计事务所

▼2F平面图，2F plan © 大舍建筑设计事务所

▼屋顶平面图，roof plan © 大舍建筑设计事务所

▼剖面图，section © 大舍建筑设计事务所

瓷之源博物馆
建筑师：大舍建筑设计事务所
主持设计：柳亦春
建筑设计小组：陈晓艺、王卓浩、张晓琪、吉宏亮
地址：德清县武康镇阜溪街道龙胜村
总建筑面积17206㎡
合作设计单位：和作结构建筑研究所；东南大学建筑设计研究院有限公司；潘卢杨沈企业顾问（上海）有限公司；上海一于景观设计有限公司

Porcelain Source Museum
Architect: Atelier Deshaus
Principal: Liu Yichun
Design team: Chan Hiongai, Wang Zhuohao, Zhang Xiaoqi, Ji Hongliang
Location: Longsheng Village, Deqing County, Zhejiang Province
Gross floor area: 17206 sqm
Corporate design: AND Office, Architecture and Engineering Co., Ltd. of Southeast University, Panlu Yangshen Enterprise Consultant (Shanghai) Co., Ltd, YIYU Design Limited.

More: 大舍建筑。更多关于他们: Atelier Deshaus on gooood

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