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▲ 露臺的高差為舉辦各種活動提供更多的可能性 The height difference of the terrace provides more possibilities for various activities © 雷壇壇
浙江松陽縣松莊村海拔四百多米，位居山中，彎多路窄，初次到達，儼然經歷了現代版的《桃花源記》。據說這里在2017年前，是個大多數松陽人自己都沒去過、甚至不知道的村莊。也因此，松莊的老房子和村落肌理的原始風貌都幾乎完整的保留了下來。
The Quartet – Songzhuang Z Museum
Located in Songzhuang Village, Songyang County, Zhejiang Province, the Z Museum sits over 400 meters above sea level, nestled deep within the mountains. With its winding roads and narrow paths, arriving here for the first time feels like stepping into a modern-day version of the “Peach Blossom Spring”. It is said that prior to 2017, this was a place even most locals of Songyang had never visited—or even heard of. As a result, the village has managed to preserve much of its original character, including its traditional housing and historical spatial fabric.
▲ 織美術館位于具有600年歷史的古村中 Z museum is nestled in a 600-year-old ancient village ©雷壇壇
2024年初，TEAM_BLDG間筑設計接到了來自這座600年古村落的項目之邀，將松莊村中的一幢九十年代磚混民房改造成為「Z MUSEUM織美術館」——— 國內首座以編織為主題的當代鄉村美術館。
In early 2024, TEAM_BLDG was invited to undertake a project in this 600-year-old village: to transform a brick-and-concrete residential house built in the 1990s into Z MUSEUM – the first contemporary rural art museum in China dedicated to the theme of weaving.
▲ 手繪圖 Sketch ©間筑設計 TEAM_BLDG
▲ 總平面圖 Site Plan ©間筑設計 TEAM_BLDG
與其隱，不如銳
Better to Stand Out than to Disappear
▲ 屋面設計借鑒了傳統建筑中“四水歸堂”的意境 The rooftop embodies the Four Waters Returning to the Courtyard essence from traditional architecture ©雷壇壇
村中顯著位置，原建筑兀自佇立，其尺度與材質都明顯與周邊低矮連綿的夯土老房子格格不入。該民房中已無人居住，鄉內也曾多次想要對其進行改造，直至現在的運營方“山風大美”提出了建造織美術館的想法。
The original architecture stands in a prominent location within the village—its scale and material starkly contrast with the surrounding low, continuous rows of traditional rammed-earth houses. Having long been uninhabited, the building had been considered for renovation on multiple occasions. It wasn’t until the current operator, Mountain Creations, proposed transforming it into the Z Museum that a clear vision began to take shape.
▲ 建筑原貌 Existing State ©間筑設計
▲ 建筑原貌 Existing State ©間筑設計
初次接洽，運營方就對間筑提出了清晰的設計訴求：格格不入既然已成事實，與其消減隱藏，不如以更有記憶點的方式增加這種對比。同時，希望“這種對比”之于美術館、之于村莊又是恰如其分且優美的。
From the outset, the operator conveyed a definitive design direction to TEAM_BLDG: since the building’s incongruity with the village context was an established fact, instead of concealing or diminishing it, why not enhance this contrast in a way that is memorable? At the same time, this contrast should be appropriate and graceful—resonating both with the spirit of an art museum and with the character of the village itself.
▲ 一分為四后的建筑體量更接近村落的尺度 One pided into four volumes is closer to the scale of the village ©雷壇壇
▲ 日落后的美術館回歸了靜謐的白色 After sunset, Z museum returns to its serene white ©雷壇壇
四重奏與變色表皮
A Quartet and a Color-Shifting Skin
▲ 材料打樣 Material Sample ©間筑設計
▲ 外立面的每根格柵正面為白色，其他三面為紅色 Each grille on the facade has a white front, while the other three sides are earth red ©雷壇壇
▲ 與三月桃花相映成趣 An interesting foil to the peach blossoms in March ©雷壇壇
▲ 新與舊，纖細與夯實 New and old, delicate and solid ©雷壇壇
▲ 光影與格柵之間的“編織” The weaving between the light and shadow and the grilles ©雷壇壇
面對原建筑密實而規整的外立面，設計先以建筑解構入手，參考周圍老房子的尺度，由內到外將整棟建筑縱向一切為四，并在其中添加內庭院，上下并聯起四個體量。再結合屋頂露臺不同高度的活動區域，添加半透遮陽篷，賦予外立面高低錯落的“四重奏”效果。
Faced with the dense and rigid façade of the original structure, the design began with a deconstructive approach. Drawing on the scale and spatial rhythm of the surrounding old houses, the building was vertically pided into four volumes from the inside out, with inner courtyards inserted in between. These four volumes were then interconnected vertically and horizontally. Varying rooftop terraces and semi-transparent shading canopies were introduced, generating a dynamic composition of staggered heights—what the architects describe as a “quartet” of forms.
▲ 織美術館希望能夠融入環境和當地人的生活中 Z museum aspires to weave itself into both the environment and the daily lives of the locals ©雷壇壇
▲ 古老的巷子里看到的織美術館 Z Museum seen In the age-old alleyways ©雷壇壇
同時，為了給原建筑“減重”，建筑師借鑒傳統布匹編織的原理，將20mmX40mm的鋁方通漆成三面紅一面白，排列成細細的格柵包裹建筑立面，而固定在立面的構件如同織布機的梭子帶領“緯線”與“經線”交錯，為原本敦實的建筑“織入”絲絲縷縷的“雙色紗線”，構筑出一個輕盈靈透的建筑體量。
To visually “lighten” the mass of the original building, the architects took inspiration from traditional textile weaving. Aluminum square tubes measuring 20mm x 40mm were painted red on three sides and white on one, then arranged into a fine lattice that wraps the entire façade. Structural elements fixed to the façade act like the shuttles of a loom, guiding the interplay of “warp” and “weft,” and weaving strands of dual-colored “yarn” into the building’s skin. The result is a mass that feels both delicate and diaphanous.
▲ 露臺的高差為舉辦各種活動提供更多的可能性 The height difference of the terrace provides more possibilities for various activities ©雷壇壇
▲ 夯土老屋是織美術館的入口 The existing rammed earth old house serves as the entrance to Z Museum ©雷壇壇
對于外立面格柵，建筑師擔心鋁方通過于理性、有序，遂進一步的針對格柵排列疏密進行了細化：格柵間為不等分間距，上下分段也呈現出上密下疏的立面構成，尤其露臺部分的格柵，呈現更多維度的交錯，更能體現出外表皮的“編織感”。
Concerned that the aluminum lattice might appear too rational and mechanical, the design team refined the arrangement by varying the spacing of the slats. The gaps between the tubes are intentionally irregular, and the upper and lower sections are treated differently—with denser patterns above and more open ones below. Particularly on the terrace levels, the lattice introduces multidimensional interweaving, further amplifying the sense of “woven skin.”
▲ 建筑每個面的顏色都在隨著光線變化 The colors of each facade shift and transform with the changing light ©雷壇壇
▲ 輕盈與厚重的對比 A delicate interplay between lightness and weight ©雷壇壇
清晨，隨著日光照進山谷內的村莊，光影便開始在格柵上展開“編織”，被漆成正面白三面紅的鋁方通，使得建筑立面始終在進行著不易察覺的顏色變化。這也意味著，在不同日子到訪織美術館，也許將擁有截然迥異的印象：晴日的午后，美術館會呈現出通透明亮的粉色；而雨雪天氣下，則會化為一座靜謐的白房子。
In the early morning, as sunlight begins to filter into the mountain village, light and shadow begin to “weave” across the façade. Thanks to the red-and-white orientation of the aluminum slats, the building takes on subtle and ever-shifting hues throughout the day. This means that each visit to the Z Museum may offer a distinct impression: on bright, sunny afternoons, it may appear as a translucent pink volume; on rainy or snowy days, it becomes a serene, white monolith.
繞著“光井”向上行進
Ascending Around a Shaft of Light
▲ 中庭的自然光隨時間而變化 The natural light in the atrium changes with time ©雷壇壇
建筑師希望將焦點充分給到藝術作品，室內設計上盡量少做加法，只對動線和內外空間關系進行梳理。
In order to give full focus to the artworks, the architects intentionally minimized additive interior design interventions, instead prioritizing the clarity of circulation and the relationship between interior and exterior spaces.
▲ 借鑒當地村民的生活習慣，在入口旁設置休閑空間 Drawing on the lifestyle of local villagers, a leisure space is set up next to the entrance ©雷壇壇
▲ 序廳的幽暗與中庭的明亮形成對比 The dimness of the prelude hall forms a contrast with the brightness of the atrium ©雷壇壇
首先在入口的夯土老房子內部設置“序廳”這樣一處安靜的暗空間。序廳室內除門窗套，老虎窗增加了紅色鋼板造型外，基本維持老房子原貌，意在通過美術館內外幾重空間氛圍的對比，讓觀眾在觀展前先得到情境上的轉換。
The journey begins in the adjacent rammed-earth structure, where a “prologue hall” has been inserted—a quiet, dimly lit space. Aside from red-painted steel cladding added to the window frames and a traditional “tiger window,” the room largely preserves the original appearance of the old house. By contrasting this subdued spatial atmosphere with the contemporary interior of the main building, visitors undergo a sensory transition before entering the main exhibition areas.
▲ 紅色鋼板門窗套是新舊建筑間的連接 The red tube serves as the connection between the new and old ©雷壇壇
▲ 井裝置與老屋的老虎窗相聯通 Installation The well is connected to the dormer window of the old house ©雷壇壇
▲ 三個空間，由暗到明的遞進關系 The progressive relationship from darkness to brightness among the three spaces ©雷壇壇
▲ 中庭將用于展示大型懸吊裝置 The atrium will be used to display large scaled suspended art installations ©雷壇壇
繼而增設天窗，在主體建筑中引入一個垂直貫通上下三層的中庭“光井”，在為室內引入更多自然光與溫度的同時，聯通各個水平空間。每一層的展廳都環繞著中庭布置，同時觀者又可以在不同樓層互望彼此。
A new skylight was introduced by carving out a vertical atrium—a “light well”—that spans all three levels of the main structure. This shaft allows natural light and ambient warmth to penetrate deep into the interior, while also visually and physically connecting the horizontal spaces on each floor. Exhibition halls on each level are arranged around this central void, allowing visitors to glimpse others moving through the museum from different vantage points.
▲ 屋面開啟的天窗將自然光帶到每一層 The skylights opened on the roof bring natural light to every floor ©雷壇壇
▲ 每個空間都一扇面向中庭的開窗 Each space has a window facing the atrium ©雷壇壇
▲ 拾級而上，自然撲面而來 As you ascend the steps, nature surges toward you in a breath-taking embrace ©雷壇壇
▲ 三層的樓梯間已是半戶外空間 The staircase on the third floor is already a semi-outdoor space ©雷壇壇
▲ 簡而新的室內與繁而古的屋檐形成有趣對話 The simple and novel interior forms an interesting dialogue with the intricate and ancient eaves ©雷壇壇
最后將原建筑的開窗，結合外部環境及景觀進行調整，這種“二次取景”能夠讓窗外村落與館內展品形成呼應、對話。而樓梯間的外墻則設計了較大開洞，將三層變成半戶外空間，視線跟行為上都增加了與外部村莊的互動。
Original window openings were reconfigured in response to the surrounding landscape. This strategy of “secondary framing” allows curated views of the village to dialogue with the artworks on display, subtly bridging the museum interior with the rural context. Meanwhile, large new openings were carved into the stairwell’s exterior wall, transforming the third floor into a semi-outdoor space—visually and experientially reinforcing the museum’s relationship with the village.
▲ 剖面圖 Section ©間筑設計 TEAM_BLDG
▲ 改造分析動圖-Renovation-Analysis-GIF-©間筑設計-TEAM_BLDG
▲ 格柵掩映下的群山 The mountains screened by the grilles ©雷壇壇
▲ 吧臺區格柵取景框似的開洞 The viewfinder on the façade for the bar ©雷壇壇
行進至露臺，已可直接眺望整個松莊村。統一的墻、地面材質，沒有刻意的功能分區，僅以不同高差對人的行為進行最低限度的引導，讓身處此處的觀眾充分感受到自然與放松。
Upon reaching the rooftop terrace, visitors are offered an unobstructed panoramic view of Songzhuang Village. The uniform wall and ground materials, along with the absence of deliberate functional zoning, only minimally guide people's behavior through varying elevations, allowing visitors here to fully experience nature and relaxation.
▲ 格柵投影在花池卡座上 The grilles cast shadows on the flower bed booths ©雷壇壇
▲ 扶手延伸出的戶外螺旋梯引導觀眾至最高處 The outdoor spiral staircase extended from the handrail guides the audience to the highest level ©雷壇壇
▲ 村莊內各處都能看到這一“地標” This “landmark” can be seen from every corner of the village ©雷壇壇
▲ 每個框景都是村莊與美術館的連接 Each framed view serves as a connection between the village and Z museum ©雷壇壇
▲ 夜晚變為朦朧的“燈塔” At night, it becomes a hazy lighthouse ©雷壇壇
▲ 沒有建筑亮化，僅有室內透出柔和的光 Without exterior building lighting, only soft light filters from the interior ©雷壇壇
值得一提的是，建筑師也專門為織美術館的咖啡廳及商店設計了“纟”系列家具，其靈感皆來源于傳統織布機的形態。家具以20*20mm的方管為框架，在上面用20mm寬的定制紅色織帶纏繞拉緊并固定在方管上，形成平面和斜面的造型。織帶的間距同時也呼應了外立面格柵的編織語言，希望“紗線”能從室外延伸進室內。
Notably, the architects also designed a custom “LOOM” furniture series for the museum’s café and shop, inspired by the forms of traditional looms. Constructed with 20×20mm square steel tubes as frames, each piece is wrapped and tensioned with 20mm-wide custom red woven straps to create both horizontal and angled surfaces. The spacing of these woven elements echoes the façade’s lattice system, extending the woven “thread” motif from exterior to interior.
▲ 建筑師為咖啡廳和商店專門設計的“纟”系列家具 The LOOM series of furniture specially customized by the architect for the cafe and the shop ©雷壇壇
▲ 以編織為概念的導視系統 VI system with the concept of weaving ©雷壇壇
▲ 模型 Physical Model ©間筑設計
▲ 模型 Physical Model ©間筑設計
▲ 模型 Physical Model ©間筑設計
項目圖紙
▲ 一層平面圖 1F Plan ©間筑設計 TEAM_BLDG
▲ 二層平面圖 2F Plan ©間筑設計 TEAM_BLDG
▲ 三層平面圖 3F Plan ©間筑設計 TEAM_BLDG
▲ 屋頂層平面圖 Roof Plan ©間筑設計 TEAM_BLDG
▲ 東立面 East Elevation ©間筑設計 TEAM_BLDG
▲ 南立面 South Elevation ©間筑設計 TEAM_BLDG
▲ 西立面 West Elevation ©間筑設計 TEAM_BLDG
▲ 北立面 North Elevation ©間筑設計 TEAM_BLDG
項目名稱：四重奏 – 松莊村織美術館
功能：美術館，咖啡廳，商店
設計時間：2024.02 - 2024.07
施工時間：2024.08 - 2025.04
地點：浙江，松陽
建筑面積：472平方米
運營方：山風大美
策展方：CSC Communis
設計公司：間筑設計
設計團隊：肖磊，鄧彩儀，沈瑞杰
結構設計：公和設計集團有限公司
定制家具、燈具設計：間筑設計
VI設計：間筑設計
合作方：N/A
類型：建筑、室內及景觀
狀態：建成
攝影師：雷壇壇
攝影助理：韋維
Project Name：The Quartet – Songzhuang Z Museum
Function：Museum，Cafe，Store
Design Period：2024.02 - 2024.07
Construction Period：2024.08 - 2025.04
Location：Songyang, Zhejiang
Building Area：472 SQM
Operator：Mountain Creations
Curatorial Team：CSC Communis
Firm：TEAM_BLDG
Architects：Xiao Lei, Deng Caiyi, Shen Ruijie
Structure Design：GongHe Architecture Design Group Co.,Ltd.
Custom Furniture、Lighting Design：TEAM_BLDG
VI Design：TEAM_BLDG
Cooperation：N/A
Type：Architecture, Interior and Landscape
Status：Completed
Photographs：Jonathan Leijonhufvud
Photography Assistant：Wai Wai
來源：本文由間筑設計提供稿件，所有著作權歸屬間筑設計所有。
本文版權歸腿腿教學網及原創作者所有，未經授權，謝絕轉載。
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