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秦王政二十五年（前222年），灭楚，于姑篾之地设太末县，隶会稽郡，为龙游建县之始。自那时起，龙游便一直存在于文人骚客的笔墨之下，也是各路军师将领必争的重要版图。时间的长河不仅留下了丰沛的历史文化记忆，更是留下了如史前遗址、龙游石窟、历史建筑群民居苑、汉墓群、元代堰坝等丰富的不可移动文化资源。经过漫长的筹备等待，龙游博物馆的落成，犹如开启一个承载历史记忆的时光合院，让龙游这个“隐秘的珍宝”不再“遗世独立”。
▼延时视频，Time-lapse video ©左右建筑
In the 25th year of The Reign of The King of Qin (222 BC), he destroyed The State of Chu and set up Taimo County in the land of Gomer. Since then, Longyou has been under the pen of literati and poets, and it is also an important territory for all the military commanders to contend for. The long river of time has not only left abundant historical and cultural memories, but also left abundant immovable cultural resources such as prehistoric sites, Longyou grottoes, residential gardens of historical buildings, Han Dynasty tombs group, Yuan Dynasty weir DAMS and so on.After a long period of preparation and waiting, the completion of the Longyou Museum is like opening a time complex to carry historical memories, so that the “hidden treasure” of Longyou is no longer “independent”.
▼项目概览，Project overview ©杨光坤
01.
【舒展的画卷】（补绘城市的连续山水）
[Stretch of the picture] (Fill in the continuous landscape of the city)
鸡鸣塔脚，民居苑下，灵山江畔，自上而下，依次叠落，缓慢展开。得天独厚的区位特质是场地非凡之所以然，也是其必然。这是在龙游的城市拼图中，早已为博物馆预留的一席之地，是蓄意而为的留白，待以浓墨重彩拼接描绘。博物馆的设计自然得顺应了城市视线对景观的远眺趋势。通过对位于主要城市来向道路各点人视标高的视线分析，设计对博物馆高程和层高进行严控，保证各个角度上，建筑都不会对鸡鸣塔的城市最高点的标志性有影响。一众文化建筑形成相得益彰的舒展城市山水画卷。
At the foot of the Jiming tower, under the residential garden, by the river of Lingshan, they stack up from top to bottom and unfold slowly. Unique location characteristics is the reason why the site is extraordinary, but also its inevitable. This is a place reserved for the museum in the urban puzzle of dragon Tour. It is intentionally left blank to be painted with thick ink and heavy color. The design of the museum naturally follows the trend of the city’s view of the landscape.
▼鸡鸣塔、民居苑、博物馆的竖向关系，The vertical relationship of rooster – ringing tower, residential garden and museum ©杨光坤
▼坐落于灵山江边的博物馆，The museum is located by the river of Lingshan ©杨光坤
02.
【错动的院落】（寻觅在地的最佳形态）
[Staggered courtyard] (Looking for the best form of local conditions)
博物馆选址极佳。西面沿灵山江、元代鸡鸣堰展开；南临铁路公园，眺望山丘之上鸡鸣塔，与历史建筑群民居苑为邻；东北两面皆为城市建成区；四相汇聚于此，龙游古今文化的脉络被完整缝合。
▼博物馆周边拥有着丰富的历史资源，There are rich historical resources around the museum ©左右建筑
The museum is well located. To the west of Longyou Museum is the Lingshan River and the Yuan Dynasty jiming weir, to its south is the railway park.The museum can overlook the hill over the Jiming Tower, neighbors historical buildings residential garden adjacent; Both sides of the northeast are urban built-up areas;The vein of ancient and modern Longyou culture is completely stitched together, which is benefited from the cultural convergence.
▼博物馆与城市关系，Relationship between the museum and the city ©杨光坤
延续。取意“四水归堂”的原始形体构成，建构传统民居的院落形态呼应民居苑古建筑群落的文脉。在空间和形态上将文化延续，讲述历史的真实。
Continuation. The museum takes the original form of “Four water currents return to the Hall”, and constructs the courtyard form of traditional residence to echo the context of ancient architecture community in the residential garden. It extends culture in space and form, telling the truth of history.
▼博物馆鸟瞰，Aerial view of the museum ©杨光坤
围合。解构“四水归堂”的方形建筑总平，增强博物馆公众开放的属性。将匀质的围合演变成两个“L”型的形体相互咬合，形成“薄”与“厚”两种不同围合状态。薄处为与外界勾连边界，形成入口-门厅-休闲-江景一线的公共视觉通廊。厚处安放展馆、储存、办公、会议、文教等功能空间，满足博物馆所需的各功能空间尺度和相互的连结动线。
Enclosure. We deconstructed the general level of the square building of “Four Waters return to the Hall” to enhance the public opening of the museum. The circumfluence of the uniform mass is developed into two “L” shaped shapes occluding each other. The thin part is the boundary connecting with the outside, forming the public space along the line of entrance, foyer, leisure and river view. While the thick space is for exhibition hall, storage, office, meeting, culture and education, etc., meets the needs of the museum’s functional space scale and interactive circulation.
▼与文化四相汇聚于此，Museums and cultures converge here ©杨光坤
错动。寻找“四水归堂”建筑的城市关系，将南北两厢分别向着东西两向延伸，南厢向着东面城区延展，形成入口昭示性。北厢面对灵山江和巨龙路桥挑出，形成临江建筑的个性。恰好与“L”型形体咬合再次相对错出，博物馆的布局严密地呼应城市肌理。围合成的庭院顺应东西轴线，实现视线贯通。
Dislocation.To find the urban relationship of the “Four waters return to the hall” building, the north and south wings are extended to the east and west respectively, and the south wings are extended to the east of the city, forming the entrance clearly. The north wing faces Lingshan River and Julong Road bridge, forming the personality of river-front architecture. The building fits into the “L” shape and is relatively disconnect, and the layout of the museum closely echoes the urban fabrics. The enclosed courtyard follows the east-west axis to achieve the sight connection.
▼“四水归堂”的形体构成，The architectural form of “Four waters return to the Hall” ©杨光坤
由此，建筑通过对简单几何模块的解构、拉伸、方向性抬升后围合成“合院”。以“合院”的礼序，致龙游文明和场馆选址以敬礼。
Therefore, by deconstructing the simple geometric module, stretching and directional lifting, the building is forming the courtyard to display a respect for the dragon tour civilization and venue site through this monument.
▼桥洞下的一瞥，A glance under the bridge ©杨光坤
▼晚霞衬映的舒展城市山水画卷，The city landscape painting reflected by sunset ©杨光坤
03.
【共生的中庭】（清晰外化的流动空间）
[Symbiotic atrium] (clearly externalized flowing space)
传统的博物馆公共空间强调雕塑感，设计语言隐喻抽象。但是很多时候观众进馆之后，总是感到没有清晰的路径、无法感知完整的内容、缺乏通览的角度、费力寻觅却错失内容。所以本次设计强调中听的共生性。形体构成与功能、游走路径与展陈内容、公共内景与自然外景、光线与动线之间都围绕公众的人与人、人与展陈、人与建筑和自然之间的公共性交互性来着墨动笔。
The traditional museum public space emphasizes the sense of sculpture and design language metaphor and abstraction. However, most of the time, after entering the museum, the audience always feel that there is no clear path, cannot perceive the complete content, lacks the Angle of comprehensive view, and tries hard to find but misses the content. Therefore, this design emphasizes the symbiosis of hearing. Form composition and function, walking path and exhibition content, public interior scene and natural exterior scene, light and moving line all focus on the public interaction between people, between people and exhibition, between people and architecture and nature.
▼进入博物馆中庭，犹如步入“龙游石窟”，Entering the museum atrium, it is like stepping into the “Dragon Cave” ©杨光坤
可外化的服务功能空间。打破常规博物馆的空间形态，受龙游石窟的构造和光影场所的启发，在公共大堂两侧建构三座通高的筒体，隐喻龙游最著名的石窟文化象征。筒体既是支撑构建也是服务空间，将垂直交通体系、卫生间、竖向管井等集中放置于内，形成“服务空间”的物理外化。不再隐密于展馆后部，直接挂在主游览路径上，易于观众发现和寻找。
Externalized service function space. Breaking the conventional spatial form of the museum, inspired by the structure of the Longyou grottoes and the place of light and shadow, three double-height tubes are constructed on both sides of the public lobby, which is a metaphor for the most famous cultural symbol of Longyou grottoes. The cylinder is not only the support construction but also the service space. The vertical traffic system, toilet and vertical pipe well are centrally placed in it to form the physical externalization of the “service space”. The cylinder is no longer hidden in the back of the pavilion and hangs directly on the main tour path, making it easy for visitors to visit.
▼光线与动线同步，The light synchronizes with the circulation ©左右建筑
可引导的清晰游览路线。结合本项目入口-中庭-室外城市江景的空间序列特性，设计一条“由中庭入，绕石窟行，望江景回”观展动线。自下而上形成清晰有趣的参观序列。临时展厅与基本陈列展厅被放置在一层的南北两侧。犹如在龙游石窟游览一般，由南至北参观了所有展区后便随着天光的指引，自然随步道盘绕至“石窟”二层。
A clear guided tour route. In combination with the spatial sequence characteristics of the project’s entrance, atrium and outdoor urban riverscape, we designed a moving line “entering from the atrium, walking around the grottoes and looking back to the river scene” for exhibition viewing. Form a clear and interesting visiting sequence from bottom to top. Temporary exhibition halls and basic exhibition halls are placed on the north and south sides of the ground floor. Just like visiting the Longyou Grottoes, after visiting all the exhibition areas from the south to the north, you will naturally follow the sky light to follow the trail winding to the second floor of “the grottoes”.
▼拾级而上，犹如置身龙游石窟，When people climb up the stairs, they seem to walk through the Longyou Grottoes ©左右建筑
建筑二层陈列叙述了古近代历史与非物质文化遗产，从地质、历史、人文的角度展示了一个无死角的城市印象。“望江景出”，游览流线尽端是大面的玻璃幕墙，视线豁然开阔，俯瞰着流淌静谧的灵山江和鸡鸣堰。这是博物馆参观的高潮点，也是与龙游古城对话的起始章。
▼“望江景出”，“The scenery emerged along with the river” ©杨光坤
The second floor of the building displays the ancient and modern history and intangible cultural heritage, from the geological, historical and cultural perspectives, showing a city impression without dead-ends. “The scenery emerged along with the river”, the end of the tour flow line is a large glass curtain wall as the line of sight is suddenly wide, overlooking the quiet flow of Lingshan River and Jiming weir. This is the peak point of the museum visit, but also the beginning of the dialogue with the ancient city of Longyou.
▼北侧立面图，North elevation ©左右建筑
功能空间沿着路径展开，在博物馆中庭的任意一点即可全览展厅总体布局及各展厅方位。
The functional space is expanded along the path, and you can see the overall layout of the exhibition hall and the orientation of each exhibition hall at any point in the museum atrium .
▼二层路径与空间，Path and space on the second floor ©左右建筑
可感知的公共空间魅力。进入博物馆中庭，犹如步入“龙游石窟”。可随锈蚀钢板围挡的步道环绕“石窟”在一、二层之间游走，围绕中庭形成双环的并联式动线。
The perceived charm of public space. Entering the museum atrium, it is like stepping into the “Dragon Cave”. Visitors can walk around the “grotto” between the first and second floors along with the rusted steel plate enclosure, and form a parallel moving line with double rings around the atrium.
▼展厅与龙游石窟形成空间上的呼应，The exhibition hall and the Longyou Grottoes form a spatial echo ©左右建筑
可同步的光线与动线。通过结构与建筑的配合，打开核心筒周边的顶盖，将光线导入中庭，与主要游览路径吻合。辅之以东西两侧幕墙，最终形成由静谧光导引的游览空间。
The light synchronizes with the circulation. Through the coordination of the structure and the building, the top cover around the core tube is opened to bring light into the atrium, which is consistent with the main sightseeing path. Supplemented by facade on both sides of the east and west, the tour space guided by quiet light is finally formed.
▼静谧光导引游览的空间，The tour space guided by quiet light is finally formed ©左右建筑
行政管理、后勤辅助、报告厅等功能被独立放置于西侧区域，与游客流线完全分离开。同时结合层高在一层行政用房及二层藏品库房设置夹层，有效提高了空间利用率。
Administrative management, logistics assistance, lecture hall and other functional areas are independently placed in the west area, completely separated from the tourist flow line. Meanwhile, the mezzanine is set in the administrative room on the first floor and the storehouse of the collection on the second floor, effectively improving the utilization rate of the space.
▼形态生成及流线动画，Building form generation and streamline animation ©左右建筑
04.
【橫绵的语汇】（连续绵长的立面语汇）
Continuous architectural language
基于这样古老且传统的在地条件，建筑立面的语汇选择慎重的回归原点。将传统江南墨顶、檐板、粉墙的元素转换成现代材料语言。
顶部，借由三角形母题进行承转构成的“墨顶”将建筑还原为水墨山水间的天然“容器”。屋顶的金属面板在虚实中建构三角形的连续翻折元素，模糊其定义界面。“斗拱鳞墙”，装饰构件竖向排布和斗拱形式的受力构件，连续绵长的界定建筑的城市公共建筑的属性。
Based on such ancient and traditional local conditions, the vocabulary of the building facade is carefully selected to return to the origin. The elements of traditional South Of the Yangtze River ink-top, coreboard and pink wall are transformed into modern material language.
At the top, the “ink roof” formed by the triangle motif is used to restore the building to a natural “container” between the ink landscape. The metal panel on the roof builds triangular continuous folding elements in the virtual and real, blurring its definition interface. The “dougong scale wall”, the vertical arrangement of decorative elements and the bearing elements in dougong form, continuously defines the attributes of the urban public building of the building.
▼连续翻折的金属面板构成“墨顶”，Continuous folding of metal panels to form the “Ink roof” ©杨光坤
▼斗拱鳞墙，Dougong scale wall ©杨光坤
▼墙面细节，Metope details ©杨光坤
中部，展馆对应的实体墙处。外立面的“砖墙”调以典雅浅灰粘结砖为主要材质，在局部墙面错分凹凸的构造处理，呈微弱的渐变，呼应顶部构架的趋势和城市方向。
In the middle, at the corresponding physical wall of the pavilion. The “brick wall” of the exterior facade is mainly made of elegant light grey caking brick. The structure of the local wall is divided into concave and convex, showing a faint gradient, echoing the trend of the top frame and the direction of the city.
▼外立面，exterior facade ©杨光坤
底部，主要的公众参与部分，采用白色石材，为悬挂式石材幕墙上实下虚，实处循粉墙意，虚处希望室内与江景的无界关联。
At the bottom, the main part of public participation adopts white stone, which is solid and empty on the hanging stone curtain wall, and the real part follows the meaning of the powder wall. The empty part represents the unbounded connection we want between the interior and the river.
▼陶板幕墙竖剖节点图/石材幕墙标准竖剖节点图/拉索石材及玻璃幕墙竖剖节点图 ©左右建筑
Vertical section node diagram of ceramic slab curtain wall/Standard Vertical Section Node Diagram of Stone Curtain Wall/Vertical section node diagram of cable stone and glass curtain wall
▼大片玻璃幕墙营造静谧氛围，Large glass walls create a tranquil atmosphere ©杨光坤
▼西南面透视，Southwest perspective ©杨光坤
05.
结语
Conclusion
要了解城市的内在，博物馆无疑是最接近灵魂的地方。而在龙游这样历久弥新的千年古镇， 场馆也势必成为“龙游名片”的一部分，与强烈的场地特质一起接受时间洗礼。
A museum is surely the best place closest to the soul and understanding the inner city. In ancient towns like Longyou, which have been enduring for thousands of years, the museum itself is bound to become a part of the “Longyou city name card”, which will be baptized by time together with the strong site characteristics.
▼从灵山江对望，Looking across the Lingshan River ©杨光坤
2019年度的浙江省博物馆日在龙游博物馆举行。隆重开启这座历史的记忆空间。
The 2019 Zhejiang Provincial Museum Day was held at the Longyou Museum, which ceremoniously opened the memory space of this history.
▼博物馆正面，Museum facade ©杨光坤
▼总平面图，Master plan ©左右建筑
▼一层平面图，First floor plan ©左右建筑
▼二层平面图，Second floor plan ©左右建筑
▼立面图，Elevations ©左右建筑
▼立面细节，Details ©左右建筑
项目名称：龙游博物馆
设计方：中联·方晔·左右建筑
公司网站：zoyo-arch.com
联系邮箱：zhuxingyu@chinacuc.com
设计年份：2016年
建设时间：2017年
竣工时间：2019年
设计主创：方晔
设计团队：
建筑：李琳、应王波、马骏豪、关格格、陆舒敏、陈科润、王瑜婷、李宸洋
幕墙：陈浩
景观：严华峰
室内：应婷婷
照明：徐红华
项目地址：浙江省衢州市龙游县
建筑面积：16875㎡
摄影版权：杨光坤
客户：龙游县城市发展投资有限公司
