御窑博物馆位于景德镇历史街区的中心，毗邻明清御窑遗址，在地段周边散落着很多大小不一的历史瓷窑遗址。
景德镇“因窑而生，因瓷而盛”, 砖窑不仅是景德镇城市的起源，更是人们赖以生存的生活与交往空间。景德镇的瓷窑，“保存着与这座城市的生命不可切割的记忆温度——旧时孩童在冬天上学途中，会从路过的瓷窑上捡一块滚热的压窑砖塞进书包抱在怀中，凭借这块砖带给他的温度，捱过半日寒冬”。夏季，歇窑期间，砖窑所散发的湿冷空气更是孩童玩耍，年轻人交往、老人纳凉的好去处。
这些断壁残垣的老窑遗址，这些薪火相传的不灭记忆，是御窑博物馆自然而然的源泉。 瓷窑独特的东方拱券原型，窑砖的时间与温度的记忆，塑造出窑、瓷、人的血缘同构关系。
“不仅窑炉作为建筑类型融入了城市的历史，修建窑炉的材料“砖”也是可知可感的 。在达到一定生命周期蓄热性能衰减后窑砖被从窑炉上替换下来，又可以成为修建居住建筑的材料。窑炉早已成为景德镇文化记忆和城市生命的重要组成部分，也顺理成章成为了御窑博物馆的空间类型“。
多个大小不一、体量各异砖拱布局，它们若近若离，萧萧如落木，营造出轻松、偶然、手工、自然的氛围，游走于虚实相生的砖拱与院落之间，人们可以感受到既熟悉、又陌生的一种空间经验。
博物馆建筑分为地上、地下两层，门厅位于地上层。这样的布置不仅仅会让人们在走向它时感到体量的亲和感、感受到它的尺度和城市中现存的建筑保持相似性，更重要的是人们进入它的空间经验与过去工匠在此劳作烧瓷的经验十分类似。行走在平静的水面之上、缓步进入门厅，向左行，人们将穿越一系列尺度大小略有变化、时而室内时而室外的拱体展览空间，穿越历史的古迹和丰富的下沉院落，开启了窑、瓷、人同源的博物馆经验之旅。从门厅向右，书店、咖啡、茶室、最终来到半户外的拱体下，阳光下水体的波纹映射在粗燥的窑拱的表面，低矮、水平的横缝诱使人们好奇的席地而坐，御窑遗址长长的水平地表扑面而来，意想不到的惊喜不期而遇。这与人们进入门厅之前走向报告厅空拱时，透过垂直切割的竖缝所看到御窑遗址中的玲珑阁的经历如此不同，惊喜又如此相似。
固定展览借助于一个密闭的水平上下环路完成，两个临时展厅可以任意、同时或分别并入环路，融入整体展览，也可独立存在，因为它有自己独立的出入口。博物馆另外一个特点是将古瓷修复过程融入展览，成为展览重要的组成部分。
办公入口位于整体建筑的东南侧相对独立的拱的北端，安静、隐蔽。货车可以从该拱的南端倒入拱内，封闭、安全装卸货。
Jingdezhen, China was once home to the Imperial Kiln of the Ming and Qing Dynasties. The ancient facilities now lay in ruin, however their former site serves as the perfect platform to display the many precious porcelain artifacts that were once fired in their brick ovens. Museums are usually designed as singular structures; iconic buildings that act as symbols for the museum’s brand. Instead, Studio Zhu Pei broke this mold, fracturing the program into eight vaults of varying size, length, and curvature, which call to mind the spatial and material quality of the ruined kilns. Connected by courtyards, the long row of brick vaults is arranged along the north-south axis. Their walls are made up of concrete poured in between two layers of masonry brick walls, drawing on the longstanding tradition in the area of building with recycled bricks. The result is a modern facility with an important urban dimension, which poetically projects the museum’s historical collection into a global context.
Hannah Feniak was honored to discuss the material aspects of the project with its designers, allowing them elaborate on the global and future-oriented dimensions of their architecture.
Hannah Feniak: One important part of the project was making historical references to ground the project in a local context. At the same time, aspects of the design and the museum point to a more global future. Can you elaborate further on the decision that you made to achieve this equilibrium?
Studio Zhu Pei: The moment I started to conceive the museum, the famed Xujia Kiln was by coincidence under reconstruction. I was deeply attracted to the way local masons build. The parabolic shape of kilns is made from light and thin clay bricks. No scaffolding is used, and the construction is done by gravity and viscidity of clay. The process of kiln construction is similar to that of jiggering and jollying in porcelain making.
In the early eighteenth century, French Jesuit priest Père Francois Xavier d’Entrecolles wrote in his diary, “The city of Jingdezhen is completely occupied by kilns of all sizes. Surrounding mountains are illuminated by kiln flames at night.” It can be imagined how busy this “Porcelain Capital” of the world once was. Kilns become a place not merely for making porcelains but also for communication in public urban space. In the old days a child would pick up a burning hot kiln brick on his way to school and put it inside their schoolbag to survive a freezing cold day. In summertime, when kilns are temporarily closed, the cool wet air makes it a wonderful resort for playing and socializing. It is clearly felt that the memory of the kilns has been injected into the local blood, and the image of its prototype stays lingering in the local mind. Naturally it became the reference of my design.
This museum is to exhibit the antique porcelains from the excavation of the Imperial Kiln relics, as well as some that are now preserved in the Palace Museum in Beijing and originally made here. If a question is posed to the porcelains, “Where is your homeland?” The answer would definitely be like this, “Kilns!” Thus, the fundamental idea of my design is to bring back a sense of homeland for the porcelains. In fact, the scale of the museum in section is quite similar to Xujia Kiln. Imagined ancient working scenes of craftsmen inside the kilns would be evoked when a visitor watches and promenades around the museum. This is exactly the so-called rootedness. It reshapes a past experience, represents a kind of isomorphic inner-relationship of “kiln-porcelain-human.” In this way, new designs are combined with the past experience.
设计团队
建筑设计：朱锫建筑事务所，清华大学建筑设计研究院有限公司
主持建筑师：朱锫
前置批评：周榕
艺术顾问：王明贤、李翔宁
设计团队：由昌臣，韩默，何帆，刘伶，吴志刚，张顺，Shuhei Nakamura，杨圣晨，杜扬，陈奕达，贺成龙，丁新月
结构顾问：清华大学建筑设计研究院有限公司
机电顾问：清华大学建筑设计研究院有限公司
景观设计：朱锫建筑事务所，清华大学建筑设计研究院有限公司
展陈设计：朱锫建筑事务所，北京清尚建筑装饰工程有限公司
室内设计：朱锫建筑事务所
幕墙顾问：深圳市大地幕墙科技有限公司
照明顾问：北京宁之境照明设计有限责任公司
声学顾问：浙江大学建筑技术研究所
业主：景德镇市文化广播电影电视新闻出版局，景德镇陶瓷文化旅游发展有限公司
摄影：是然建筑摄影，田方方，朱锫建筑事务所
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