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▼视频，video

设计说明
Design Statement

泽雅是素有温州“西雁荡”之美誉的省级风景名胜区，原名“寨下”，泽雅是“寨下”温州话的译音；泽雅有明清时期的古建民居，富有底蕴，宋代延续至今“中国造纸术活化石”之称的纸山文化（全国重点文物保护单位–四连碓造纸作坊），仍然活跃在山区。

Zeya is known as a provincial-level scenic spot with the reputation of Wenzhou “West Yandang”. The original name is “Zhaixia”. Zeya is the transliteration of “Zhaixia” in Wenzhou dialect. Zeya is rich in heritage with the ancient houses of Ming and Qing Dynasties ; The Paper Mountain Culture (the national key cultural relics protection unit-quadruple Papermaking workshop), known as the “living fossil of Chinese papermaking”, is still active in the mountains.

▼建筑沿街外观，external view of the building ©吴昌乐

周边环境
Surrounding

龙溪艺术馆选址在泽雅镇政府西侧龙溪景观带上，用地面积小且狭长，东侧为通景路与温源线交叉口，位于泽雅景区的门户入口。沿车道边依然保留村民自建的房子、自营的商铺及流动摊贩，村民的生活日常让这片区域充满了烟火气息。本项目被期许以重续当地人文脉络、邀请全民参与乡村体验的姿态面向城镇，从而能成为泽雅地标的乡村艺术馆。因此，如何处理建筑与龙溪、周边民居、当地人文的关系以及探索城镇与乡村的临界关系成为本次设计的重点。

The Longxi Art Museum is located on the Longxi Landscape Belt on the west side of Zeya Town Government. The land area is small and narrow. The east side is the intersection of Tongjing Road and Wenyuan Line, and it is also the gate of Zeya Scenic Area. The `local houses, self-operated shops and mobile vendors are kept. The daily activities of the villagers makes this area more worldly . This project is expected to face the city with the attitude of renewing the local cultural network and inviting the people to participate in rural experience, and become a rural art gallery that can be Zeya’s landmark. Therefore, how to deal with the relationship between the building and Longxi, local buildings, and local humanities, as well as exploring the critical relationship between towns and villages has become the focus of this design.

▼整体鸟瞰，overall aerial view ©吴昌乐

▼顶视图，地块狭长，top view, project located on a long and narrow site ©吴昌乐

交通动线
Traffic Route

西面龙溪水景，东临交通要道，利用地块与临溪景观步道的高差，将场地下挖2米，消解艺术馆体量压迫感的同时形成与交通道路的自然分隔。建筑顺势以五个咬合且散落的单体沿驳岸逐级跌落，回应泽雅四连锥的传统建造文化。同时利用场地北侧空地作为建筑的入口广场，而南侧预留空间作为次入口；在建筑西侧引入当地叠水景观与亲水平台，与原有游步道衔接；在东侧利用建筑与道路间的缝隙，形成高低错落的乡间巷路；三条贯穿场地与建筑的路线为游客、当地居民、参观人提供了更大的活动范围，提升游逛的丰富性与趣味性。

▼分解轴测图，exploded axonometric

The project faces waterscape on the west and the traffic arteries on the east. Using the height difference between the plot and the landscape trail to dig the ground to 2 meters underneath to dissolve the pressure of the art gallery and form a natural separation from the traffic road. Following the trend, the building fell down with five interlocking and scattered monoliths along the shore, responding to the traditional construction culture of Zeya’s quadruple papermaking workshop. At the same time, the open space on the south side of site is used as the entrance plaza , and the reserved space on the north side is used as the secondary entrance; the local overlapping water landscape and hydrophilic platform are introduced on the west side of the building to connect with the original walking trail; on the east side, the gap between building and roads is used to forms a country lane road with elevation difference; the three routes through the site and the building provides a larger range of activities for tourists, local residents, and visitors to enhance the fun of wandering.

▼临溪景观步道，landscape walkway along the river ©吴昌乐

▼从建筑看向河景
view to the river from the building ©吴昌乐

▼叠水景观
overlapping water landscape ©吴昌乐

▼水面上的步道
walkway on the water surface ©吴昌乐

▼高低错落的巷路
lane road with elevation difference ©吴昌乐

▼丰富的空间，rich spaces ©吴昌乐

▼室外楼梯，outdoor staircase ©吴昌乐

内部空间
Inner Space

由北向南拾级而下的五个空间依次由接待区、展示区、咖啡区等功能区组成，由空间咬合部分的阶梯与坡道串联。在接待区和最后的咖啡区设置楼梯通往二层，形成完整的交通闭环。建筑东西立面开放且自由，在满足室内展陈需求的前提下，保留了居民视线与龙溪景观的联系。

The five spaces descending from the south to the north are successively composed of functional areas such as reception area, exhibition area, and coffee area, and are connected in series by steps and ramps in the overlap of the space. Set up stairs in the reception area and the last coffee area to lead to the second floor, forming a complete closed traffic loop. The east and west facades of the building are open and free. On the premise of meeting the needs of indoor display, the connection between the residents’ sight and the Long river landscape is preserved.

▼大厅和展厅，hall and exhibition hall ©吴昌乐

▼一层展厅，exhibition hall on the first floor ©吴昌乐

▼透过落地窗看向水景平台，view to the waterscape platform through the floor to ceiling window ©吴昌乐

▼二层展厅，exhibition hall on the second floor ©吴昌乐

▼从展厅望向河景，view to the river from the exhibition hall ©吴昌乐

▼展厅一角
a corner of the exhibition hall ©吴昌乐

▼楼梯间，staircase ©吴昌乐

▼不透明的玻璃立面
opaque glass surface ©吴昌乐

▼圆形中庭，circular atrium ©吴昌乐

▼天窗和光影
skylight and the light shadows it creates ©吴昌乐

构造与材质
Construction and Material

考虑当地建造石材已较为稀缺，且混凝土俨然已成为源口村建造的主要材料，因此建筑采用建构一体的全现浇木模混凝土，提升整体结构稳定性的同时也保证了空间的纯粹性；错缝排列的碳化木模板为混凝土墙面赋予了自然的木纹肌理，增加了建筑的亲和力也回应了周边自然环境。

Considering that the local stone is relatively scarce, and concrete has become the main material for the construction . Therefore, the building adopts cast-in-place wood-formed concrete, which improves the stability of the structure while ensuring the purity of the space; at the same time; The staggered carbonized wood formwork gives the concrete wall a natural wood grain texture, which increases the affinity of the building and responds to the surrounding natural environment.

▼木模混凝土细部，details of the wood-formed coneret ©吴昌乐

艺术馆，作为城市文化发展的产物，当被植入到中国乡村中时；我们尝试将之与场地环境、地域人文以及居民活动发生联动，弱化所谓“非乡村化”的固有印象，从而去探索一种与乡村之间的低干扰、强融合的临界关系。同时，我们试图以非常规的空间操作来回应艺术馆的创新属性和其为乡村引流的政治使命，在当地寻找一种新的乡村建筑表达和空间体验。

When art gallery, as a product of urban cultural development, implanted in Chinese villages,we try to link the building with the site environment, regional culture and residents’ activities to weaken the inherent impression of the so-called “non-ruralization”, so as to explore A critical relationship with low interference and strong integration with the countryside. At the same time, we try to respond to the innovative attributes of the art museum and its political mission to drain the countryside with unconventional spatial operations, seeking a new rural architectural expression and spatial experience in the local area.

▼沿江夜景，night view along the river ©吴昌乐

▼总平面图，site plan ©FAX椽桢建筑事务所

▼一层平面图，first floor plan ©FAX椽桢建筑事务所

▼二层平面图，second floor plan ©FAX椽桢建筑事务所

▼屋顶平面图，roof plan ©FAX椽桢建筑事务所

▼立面图，elevations ©FAX椽桢建筑事务所

▼剖面图，sections ©FAX椽桢建筑事务所

▼细部，details ©FAX椽桢建筑事务所

项目名称：泽雅龙溪艺术馆
地理位置：温州市瓯海区泽雅镇源口村
建筑/室内/景观设计：FAX椽桢建筑事务所
事务所网站：www.f-a-x.cn
联系邮箱: 1213612737@qq.com
设计时间：2020.03-2020.07
建设时间：2020.08-2021.04
用地面积：1198.64平方米
建筑面积：1074.7平方米
主持建筑师：方晨光
项目主管：陶文市
项目建筑师：梁晓
项目成员：夏晨星、王盈盈、吴研琰、郑盈盈、林学冉、陶韵、陈雨墨、邱鹏程
摄影：吴昌乐

合作设计院：浙江众生建筑设计有限公司
结构设计：翁慧锡
机电设计：缪克权、谢茂博、林向前、戴国森
景观设计：浙江绿建建筑设计有限公司
灯光顾问：恩科筑光
标识导视：加选品牌设计
项目业主：温州市瓯海区泽雅镇政府
工程建设：浙江视野建设集团有限公司
项目经理：徐建勇
建成状态：建成
结构：混凝土框架
材料：木模清水混凝土、U型玻璃、玻璃幕墙、铝镁锰板、水磨石、老石板

Project name：Zeya Longxi Art Gallery
Design: Fax Architects
Website: www.f-a-x.cn
E-mail: 1213612737@qq.com
Design year：2020.03-2020.07
Completion Year：2020.08-2021.04
Gross Built Area: 1074.7㎡
Principal：Fang Chenguang
Project Leader：Tao Wenshi
Project Architect：Liang Xiao
Project Team：Xia Chenxing、Wang Yingying、Wu Yanyan、Zheng Yingying、Lin Xueran、Tao Yun、Chen Yumo、Qiu Pengcheng”
Project location: Yuankou Village, Zeya Town, Ouhai District, Wenzhou City
Photo credits: Wu Changle

Cooperative Design Institute: Zhejiang Jonson Design Co., Ltd.
Structural Design: Weng Huixi
Electromechanical Design: Miao Kequan, Xie Maobo, Lin Xiangqian, Dai Guosen
Landscape Design: Zhejiang Lvjian Architectural Design Co., Ltd.
Lighting Consultant: Enke Zhuguang
Signage Design: Jiaxuan brand design
Construction: Zhejiang Vision Construction Group Co., Ltd.
Project Manager: Xu Jianyong”
Clients: Zeya Town Government, Ouhai District, Wenzhou City
Brands / Products used in the project: Wood Architectural Concrete 、U Profiled Glass、Al-Mg-Mn alloy

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