邢窯博物館

項(xiàng)目地址：中國(guó)河北省邢臺(tái)市

業(yè)主單位：內(nèi)丘縣旅游局

項(xiàng)目規(guī)模：10 890 平方米，

其中地上4 770 平方米，地下6 120 平方米

設(shè)計(jì)單位: 中旭建筑設(shè)計(jì)有限責(zé)任公司+言川建筑（YCA）

項(xiàng)目負(fù)責(zé)人：韓玉斌，劉延川

方案設(shè)計(jì)：劉延川，佟曉威，馬建龍，魏元辰，馬亞立，段晨曉

項(xiàng)目經(jīng)理：孟義強(qiáng)

室內(nèi)設(shè)計(jì)：北京銳合凱達(dá)工程設(shè)計(jì)有限公司

設(shè)計(jì)時(shí)間：2013年

建成時(shí)間：2017年

照片攝影：陳鶴

Project location: Xingtai, Hebei, China

Client: Neiqiu Tourist Administration

Size: 10 890 m2, Above Area 4 770 m2, Underground Area 6 120 m2

Design Firm : Zhongxu Planning & Architecture Design, YCA

Design Director: Han Yubin, Liu Yanchuan

Architectural Design : Liu Yanchuan, Tong Xiaowei, Ma Jianlong,

Wei Yuanchen, Ma Yali, Duan Chenxiao

Project Management: Meng Yiqiang

Interior Design: Ruihe Engineering Design

Design Date: 2013

Completion Date: 2017

Photographer: Chen He

邢白瓷是中國(guó)瓷器發(fā)展史上重要的一環(huán)，它的發(fā)明與制作，打破了自商代以來(lái)青瓷為主一統(tǒng)天下的局面，形成了中國(guó)陶瓷史上有名的“南青北白”的新格局。邢窯白瓷對(duì)后代彩繪瓷器影響深遠(yuǎn)，在中國(guó)陶瓷史上的地位不容忽視。

隨著2012年邢窯遺址得到確認(rèn)，建造展示邢瓷文化的博物館成為地方政府必然的選擇。

內(nèi)部研究、辦公空間和設(shè)備用房像一道城墻，把博物館從周邊農(nóng)田及低矮破舊建筑形成的雜亂日常環(huán)境中剝離出來(lái)；這道城墻的另一側(cè)是開(kāi)放的敞廊，圍繞著一個(gè)從地面抬高的水池；對(duì)公眾開(kāi)放的展覽空間像七件質(zhì)樸的瓷器，漂浮在水面之上；水池下面是連成一體的入口和主展廳；對(duì)稱但似是而非的寬大臺(tái)階連接著環(huán)廊、水池和北側(cè)的廣場(chǎng)。

瓷器一般的展廳和相應(yīng)的附屬設(shè)施尺寸各異。我們?cè)谠O(shè)計(jì)中使用圓形填充的算法作為幾何控制圖解，把它們聚攏為一個(gè)整體。

人們沿著正方形的敞廊漫步，不論在哪個(gè)位置，都會(huì)被中間的碗狀造型吸引。夏日游走其間，可以細(xì)細(xì)體味一泓碧水在弧形外墻底部形成的粼粼波光；冬日移步至此，一抹暖暖斜陽(yáng)將定格最美麗的瞬間。

邢瓷發(fā)端于隋，盛于唐。大唐的豪勁氣質(zhì)（vigor）與至簡(jiǎn)的方和圓必定相關(guān)。當(dāng)代如何使用方和圓？且看我們自問(wèn)自答。

Xing white porcelain is an important part in the history of Chinese porcelain development. Its invention and production broke the situation that celadon dominated the world since the Shang Dynasty, andopened up the famous "Celadon South & White North" phenomenonin the history of Chinese ceramics.

With theacknowledgement of theXing Kiln Ruins in 2012, to design and build a museum displaying Xing porcelain culture has become an inevitable choice for local government.

Internal research, office space and equipment rooms are like a wall that separates the museum from the messy everyday environment of surrounding farmlands and low-dilapidated buildings；inside the wall is an open gallery that surrounds a pool elevated from the ground； the exhibition space open to public is like seven pieces of rustic porcelain floating above the water； below the pool is acontinuousspace containing the entrance and main exhibition hall； symmetrical but plausible wide steps connect the ring gallery, pool and square on the north side.

Porcelain showrooms and corresponding ancillary facilities vary in size. In order to bring them together as a whole, circle packing algorithm is used in the design as geometric control diagrams.

Visitors walking along the square open gallery, wherever they are, will be attracted by the bowlshaped forms in the middle. During the summer walk, they can appreciate the ripples of light reflected from the clear water at the bottom of the curved outer wall； in the winter, the warm sunlight will freeze the most beautiful moments.

Xing Porcelain originated in Sui dynasty, and flourished in Tang dynasty. The Great Tang

分析圖1：以不同的圓形填充一個(gè)給定的區(qū)域，圓形的起點(diǎn)和次序?qū)ψ罱K的形狀有極大的影響。如果初始填充的兩個(gè)圓相切而且同時(shí)與外圍的大圓相切，圓心連線通過(guò)大圓圓心，則按照這種規(guī)則持續(xù)填充形成的圖形將是一個(gè)對(duì)稱而僵化的圖形。因此我們將規(guī)則稍作修改：最初的兩圓圓心連線通過(guò)大圓圓心，但這兩個(gè)圓只與外圍大圓相切，彼此并不相切，將中心區(qū)域空出，提供了仰望天空的視角；后續(xù)填充的圓，大小和位置將有更為靈活的可能性，從而帶來(lái)形態(tài)和空間的豐富性。

分析圖2：在確定了第1,2個(gè)圓填充時(shí)中心空出的方向后，第3個(gè)圓的不同位置和相切方式會(huì)決定第4個(gè)圓的位置。以此類推，則可以確定每個(gè)圓最終的排列方式。

分析圖3：每個(gè)碗形空間的剖面也用圓來(lái)控制。剖面的圓形分成三種，主要的兩個(gè)展廳各有自己的剖面控制尺寸，其余的五個(gè)次一級(jí)造型采用同一種控制尺寸。

Empire’svigor and the simplicity of the square and the circle must be related somehow.How to use square and circle in contemporary times? This is our thinking and answer.

Diagram 1Filling a given area with different circles, the location of the fi rst one and the order have a great in fl uence on the fi nal shape. If the two initial circles are tangent and at the same time tangent to the outer large circle, and the line connecting two centers of the initial circles passes through the center of the large circle, the fi nal pattern formed under this rule will be a symmetrical and rigid pattern. So we have slightly modi fi ed the rules: the fi rst two circles are connected to the center of the big circle, but the two circles are only tangent to the outer circle, and they are not tangent to each other, leaving the central area free, providing a view looking up at the sky. The sizes and locations of the circles fi lled afterwards will have more fl exibilities, so as to generate form and space richness.

Diagram 2After determining the direction in which the center is vacant when the fi rst and second circles are fi lled, the location and tangency of the third circle determine the location of the fourth circle. So on and so forth,the fi nal pattern will be fi xed in the same way.

Diagram 3The pro fi le of each bowl space is also controlled by a circle. The circular shape of the section has three types. The two main exhibition halls have their own section control size, and the remaining fi ve sub-level shapes adopt the same control size.