“均陶”是宜興陶瓷的“五朵金花”之一，李守才是均陶堆花制作的代表性人物，本項目作為李大師日常工作和作品展示場地使用，旨在創(chuàng)造一處具有傳統(tǒng)空間意象的現(xiàn)代藝術(shù)館。

藝術(shù)館用地南臨通蜀中路，西臨河道，東北為其他用地。設(shè)計建筑形體為一開口向東的“C”字形————從李大師堆花作品中抽象出的最基本指法，南側(cè)為門廳、展廳等公共空間，北側(cè)為較為私密的窯爐和小型制作工坊。李大師和學(xué)徒的作坊布置在西南側(cè)，便利連接南北兩區(qū)，同時享受南側(cè)采光和西面沿河景觀。由于堆花作品的陶缸通常較大、較重，設(shè)計還特別考慮設(shè)置與建筑空間結(jié)合的無障礙運(yùn)輸通道，通過前后開門的電梯實現(xiàn)陶缸在不同標(biāo)高平面上的運(yùn)輸，創(chuàng)造了作坊區(qū)域以陶缸為焦點的趣味空間。

建筑外立面采用米白色陶板幕墻作為基底，體量變化處設(shè)置仿木鋁合金門窗和紅色釉面陶板裝飾，用深灰色陶棍做圖案化處理。米白色陶板有3種規(guī)格，不同肌理形成韻律。陶板幕墻的使用也是對陶都宜興的回應(yīng)?！?/p>

項目信息/Credits and Data

設(shè)計團(tuán)隊/Design Team: 王建國，朱淵，姚昕悅，陸敏，吳昌亮/WANG Jianguo, ZHU Yuan, YAO Xinyue, LU Min,WU Changliang, et al.

建筑面積/Floor Area: 3895 m2

設(shè)計時間/Design Period: 2017-2018

竣工時間/Completion Time: 2021

攝影/Photos: 魏羽力，姚昕悅/WEI Yuli, YAO Xinyue

2 西南側(cè)視景/South view（1.2 攝影/Photos: 姚昕悅/YAO Xinyue）

"Jun Earthenware" is one of the "five golden flowers" of Yixing ceramics. LI Shoucai is a representative figure in Jun Earthenware Thumb-Applique technique. This project is built for Mr.LI's daily work and exhibitions, hoping to create a modern art gallery with traditional spatial images.

The site of the art gallery is adjacent to Tongshu Middle Road to the south, the river to the west, and other sites to the north and east. The building has a"C" shape with an opening to the east——an abstraction of the most basic thumb-applique technique of Mr.LI's works. The public spaces such as the foyer and the exhibition halls are arranged on the south side,while the new kiln and private workshops on the north side. Mr. LI and his apprentices' workshops are arranged on the southwest side, which are convenient to connect the north and south areas, while enjoying the south daylighting and the river landscape in the west. Since the earthenware cylinders are usually sizeable and heavy, the barrier-free transportation passageway combined with the building space is specially considered in the design. The earthenware cylinders are transported on different elevations through the elevator with front and rear doors,creating the workshop area a fun space with earthenware cylinders as the focus.

The fa?ade of the building is based on beige ceramic tiles. Faux wood aluminium alloy doors and windows and red glazed ceramic tiles are set at the volume changes, and dark grey ceramic tiles are patterned. There are three kinds of beige ceramic tiles, with different textures forming rhythms. The use of ceramic tiles curtain wall is also a response to the Ceramics City of Yixing.□

3 總平面/Site plan

評論

魏羽力：在通蜀中路上可以看到李守才均陶藝術(shù)館的正立面，貼著米白色陶磚，三層退階式的淺開口分別對應(yīng)了主入口、下沉庭院和凹平臺，從城市角度強(qiáng)調(diào)平面感而抑制了縱深和透視；當(dāng)轉(zhuǎn)向左側(cè)，西立面同樣是三階式開口的操作，卻深達(dá)內(nèi)院，洞口、前后連廊和活動平臺，組成了貫穿建筑的空間序列，也和西側(cè)相鄰的另一個大師工作室之間建立起一條隱含的東西軸線。主入口的淺空間左右延伸，容納了展示、接待與休憩的功能，正對著一個兩層高的方形展廳，可擺放大型作品（均陶多為陶缸類制品）。上至二層的展廊，其內(nèi)側(cè)邊界因強(qiáng)烈的虛實對比————工作區(qū)和展廳的上空和中間的垂直交通體塊————而成為駐足之處。在我參觀時，建筑尚未投入使用，因而得以忽略空間的既定用途而植入一個旁觀者的場景想象。工作區(qū)為階梯式的退臺，站在上層可以感受到光線進(jìn)入室內(nèi)，穿過周邊環(huán)繞的淺空間，照亮工作平臺。工作平臺向上穿過大師的工作區(qū)，經(jīng)連廊到達(dá)北翼————一個相對獨立的工作起居體塊，在不同高度上再次跨越東西軸線，浮現(xiàn)出與周邊對話的場景。建筑內(nèi)化的空間構(gòu)形中，被圍繞的核心空間的用途是確定的，而周圍的淺空間則相對模糊，服務(wù)與被服務(wù)、集中與分散、工作與展示、休息、交流之間的潛在關(guān)聯(lián)也是動態(tài)的，這種內(nèi)向的模糊性應(yīng)當(dāng)能夠激發(fā)使用者與空間在某種程度上的互動和自主使用，形成傳統(tǒng)師徒制的“家庭式”氛圍。

8.9 剖面/Sections

Comments

WEI Yuli: From Tongshu Middle Road, one can see the fa?ade of Li Shoucai Art Gallery of Jun Earthenware,which is covered with beige ceramic tiles. The threestepped shallow openings respectively lead to the main entrance, the sunken courtyard and the concave platform.It emphasises the sense of plane from an urban angle while inhibiting the depth and perception. When turning to the left, the west fa?ade has also a three-stepped opening, but it reaches as deep as the inner courtyard, the entrance, the front and rear corridors and the platform.While forming a spatial sequence running through the building, it also establishes an implicit east-west axis with the neighbouring master's studio in the west.The shallow space behind the main entrance extends to the left and right, accommodating the functions of exhibition, reception and rest. It faces a square and twostory-high exhibition hall, where large-scale exhibits (Jun Earthenware are mostly jars) can be placed. Up to the exhibition gallery on the second floor, its inner periphery is an area worth stopping owing to the strong virtual contrast between the blocks of vertical transport and the above space of working area and exhibition hall. During my visit, the building had not been put into use, so I was able to ignore the intended use and to imagine the scenes as a spectator. The working area is a stepped settingback platform. Standing on the upper floor, one can feel that there is light entering the room, passing through the shallow space of the periphery, and illuminating the working platform with a gradual change from solid to diffusion. The working platform goes up through the master's working area and reaches the north wing (a relatively independent working and living block) via the corridor. It crosses the east-west axis again at different heights, and a scene emerges as a dialogue with the surroundings. In the internalised spatial configuration of the building, the use of core space is clearly defined, while the surrounding shallow space is relatively vague with a dynamic potential relationship between serving and being served, centralisation and decentralisation, work and display, rest and communication. Such inward ambiguity is expected to stimulate the interaction between users and space, creating autonomous uses, and backtracking a"family" oriented tradition of apprentice system.

10 西立面/West fa?ade

11 內(nèi)院/Courtyard（10.11 攝影/Photos: 魏羽力/WEI Yuli）