续写记忆：安徽潜山痘姆龙窑及非遗客厅设计 / 灰空间建筑事务所

编辑：蔡倩雯（实习） | 校对：楼樱 | 2023.07.18 09:28

设计单位 灰空间建筑事务所

项目地点 安徽潜山

建成时间 2023年5月

建筑面积 2150平方米

本文文字由设计单位提供。

在2021年底景德镇三宝国际陶艺村创始人、景德镇陶瓷大学特聘教授李见深作为项目总策划邀请建筑师来痘姆陶厂现场踏勘时，陶厂内正在进行全方位的升级建设。我们领到的设计任务包括其中两座建筑的新建和改造——其一是已经开挖地基的非遗客厅建筑，建筑外轮廓及结构位置已确定；其二是覆盖石棉瓦屋顶的龙窑，亟待更新以满足窑篷建筑的坚固性和美观性要求，并适应其新功能。

At the end of 2021, when the architect was invited by the chief planner of the project, the founder of Sanbao International Ceramics Art Village, the Distinguished Professor of Jingdezhen Ceramic University, ceramicist LI Jianshen, to visit the site of Doumu Pottery, the factory has been undergoing a comprehensive upgrade. The design brief we have received consisted of the construction and renovation of two buildings: the ICH Lounge for which the foundation had already been excavated and therefore the location of the building outline and its structures had been determined; and the asbestos tile roofed dragon kiln, in urgent need of renewal to satisfy the requirements of soundness and aesthetics for a roof structure and to accommodate new functions as well.

陶厂中的两组建筑

龙窑屋架及非遗客厅

痘姆制陶的历史可追溯到6000年前的薛家岗文化，并绵延至今。其陶瓷烧制的技艺在当下也已被列入国家级非物质文化遗产代表性项目名录。如何保留传统的记忆并展示非遗的技艺，窑厂内的非遗客厅方案调整以及龙窑窑篷更新的设计任务，分别为建筑师提供了不同的挑战。

The history of pottery making at Doumu dates back to the Xuejiagang culture 6,000 years ago and continues to this day. Its artistry of firing ceramics has now been listed as national intangible cultural heritage. The adaptation of ICH Lounge in the kiln factory and the renovation of the dragon kiln roof structure, have respectively provided the architect with different challenges, in the way of preserving the traditional memory as well as showcasing the technique of the intangible cultural heritage.

在保证原设计主体建筑轮廓不变的前提下，建筑师对非遗客厅的建筑体块关系进行了调整，形成更丰富的底层空间界面及更亲人的尺度。建筑内部则通过流线梳理，形成一条完整的室内外结合的参观路径。

With the main building outline of the original design unchanged, the architect has adjusted the relationship of building massing for ICH Lounge, to create a richer spatial interface on the ground floor, in a more approachable scale. The interior of the building has been streamlined to form a complete indoor-outdoor visiting path.

龙窑窑篷设计则是在现有龙窑基础上，重新设计一个能遮风挡雨，满足下方烧窑需求的窑篷，同时在不影响烧窑作业的高处增加一条参观路径，形成一组全新的观察龙窑烧窑的视角。

The design of the dragon kiln roof structure reconstructed a canopy on the foundation of the existing kiln, to protect it against wind and rain as well as to meet the firing needs below. Meanwhile, a visiting path was to be paved at a higher level that would not interfere with the firing operation, allowing a brand new set of viewpoints to observe the firing of the dragon kiln.

参观路径

在窑背上东张西望

现存龙窑建造的历史可追溯至清朝，在漫长的历史岁月中，龙窑曾经历过多次火灾烧毁及修复的过程。改造前的窑篷采用轻质耐烧的石棉瓦，也是出于方便修复及防火的原因。支撑棚架的砖垛间距则是根据窑工添柴、放置陶坯的作业方式，综合考虑避让窑门、烟囱的位置，而最终确定其模数。因此新的设计基本保留原有的砖垛间距和结构形式，以保证传统烧窑方式不被干扰。

The existing dragon kiln was first built at the time of the Qing dynasty and has undergone many fires and restorations over the course of its long history. Lightweight and fireproof asbestos tile was adopted for the original roof out of its fire-resistance and ease of restoration. The module of spacing between the brick pillars that support the roof was finally determined according to the way the kiln workers adding firewood and placing greenware, taking into account the location of the kiln door and chimney. Thus the new design mainly retains the original spacing and structure of the brick pillars to ensure the traditional firing method is not disturbed.

龙窑屋架的既有形式是当地最普通的人字形松木木构屋架，每一榀三角形的构架均由下方的两组砖垛支撑。

The roof frame of the dragon kiln is in the existing form of herringbone pine timber frame, most commonly found in the area, with each triangle-shaped frame supported by two brick pillars below.

如何维持原有屋架的基本构型，再置入一组参观流线，便是龙窑改造所需解决的关键问题。建筑师在新建屋架的设计中尝试了不同的标准跨构建形式，最终被选定的方案在保留了原有屋架的构型的前提下，增加了一条蜿蜒于龙窑之上的参观路径，同时最大限度地控制了新屋架的高度，使其仅在原有屋架的基础上增加了1.8米。

The key issue to be addressed in the renovation of the dragon kiln was to incorporate a visiting path while maintaining the basic configuration of the original roof frame. The architect has experimented with different forms of a standard span for the new roof frame, and the final chosen solution has added a visiting path winding upon the kiln, in the premise of retaining the shape of the original roof, while minimizing the height increase of the new frame, adding only 1.8m on the original.

从厂区其他关键视点向龙窑看去，新建屋架和原有屋架在天际线起伏趋势与窑篷高度上没有过于明显的差异。在陶厂内，龙窑仍然是控制天际线最重要的元素，但被控制过高度的新建屋架并没有让天际线产生过于突兀的感觉。

When viewed from other key viewpoints of the factory towards the dragon kiln, there is no overly significant difference between the new and original roof frame, in terms of the undulation pattern of its skyline and the height of the roof. In the pottery factory, the kiln remains the most important element in controlling the skyline, but the newly built roof frame, in the controlled height, does not overpower the skyline.

场景叙事

并置、观察、对话

在龙窑窑背及内部工作的窑工与在屋架上穿行的游客，借新的屋架形式形成两组在空间中并行的流线。虽然二者在视线上有多处交叉互看的位置，但因安全生产的需要，二者之间并未设计有相互连接的平台。

The kiln workers working on the back of and inside the kiln, together with the visitors walking on the roof walkway, form two parallel flows in the space on account of the new roof form. There are multiple cross-viewing points between the two, but for safety reasons no interconnecting platform has been designed between them.

参观者从窑尾小剧场旁的砖砌小屋内拾级而上，经过两道转折后，东张西望地穿行于窑背上方，或东或西的参观流线位置，这是综合考虑外部建筑高度以及内部视线关系而确定的。

Visitors may walk up the stairs in the brick hut next to the small theatre at the kiln tail, through two turns, then looking around while walking through upon the back of the kiln. The position of the visiting path, on either east or west, is decided after comprehensive consideration of external building height and internal sight relationship.

每一处流线的转折和空间节点处的放大，均是以龙窑午门位置作为参照而确定的。在中段的大午门处，设计师设置了可以俯瞰广场及远眺天柱山的平台节点；在靠近龙头的小午门处，设计师则是设置了三段连续的平台，以获得更完整的观看视角；在龙头流线终点处，设置的户外茶室为参观人群提供了观看园区和天柱山的另一处视角。

Every turn in the flow and the enlargement of the spatial nodes are determined in refer to the locations of the noon gates of the dragon kiln. A platform overlooking the plaza and Tianzhu Mountain is set up at the large noon gate in the middle, while at the small noon gate near the dragon head provide three successive platforms, achieving a more complete view. An outdoor tea room at the end of the flow at the dragon head offers an alternative view of the factory and Tianzhu Mountain.

目前完工的通道仅展现了参观人群通行、游览及观看烧窑的场景，未来将有更多的内容被置入于此，诸如陶器展廊、长桌宴、时尚秀场等。

The currently completed walkway only showcases scenes of visitors passing through, sightseeing and appreciating the firing, while more activities are to be presented in the future, such as pottery exhibitions, long table banquet and fashion show.

记忆再现

材料形式的表达

窑厂内有随处可见陶罐的堆砌方式、窑砖的表面肌理、龙窑内部的拱顶和分隔墙的砌筑方式，均为设计师提供了丰富的素材与灵感，如何将其转译成为建筑语言，并以当代的方式呈现，成为本项目的一项重要工作。

The way clay pots are piled up, the surface texture of the kiln bricks, the vault inside the kiln and the masonry of the partition walls seen everywhere in the factory all provide a wealth of material and inspiration for the designer, and it is an important task of the project to translate them into an architectural language and to present in a contemporary way.

非遗客厅与龙窑建筑功能与空间相互呼应，设计师在其中植入了几组“窑”主题的空间，如位于参观路径上的“窑之路”，国际展览过厅的拱形空间，以及穹顶下的卫生间等。这些空间与龙窑屋架一起完善了整个陶厂的参观路径。

ICH Lounge echoes the function and space of the dragon kiln, where the designer has placed several 'kiln'-themed spaces, such as the ‘Road of Kiln’ on the visiting path, the vaulted space in the hallway of the international exhibition, and the toilet under the dome. Together with the dragon kiln roof structure, these spaces complete the visiting experience of the entire pottery factory.

结语

在本项目中，建筑师尝试用适度的、能与场地较好融合的建筑形式和材料语言、以保护好非物质文化遗产和活着的千年龙窑为前提，为其融入当代的生活环境、承载更多的公共展示功能、接待更多的游客等提供更多的使用场景。

In this project, with the premises of preserving the intangible cultural heritage and the living millennial dragon kiln, the architect has attempted to use a modest architectural form and material language that are well adapted to the site, to provide more scenarios for its integration into the contemporary living environment, carrying more public display functions and accommodating more visitors.