Jingdezhen被称为世界上的“瓷资本”，因为它已经生产陶器已有1,700年了。在明朝和清朝中，辛格申将大量瓷器出口到欧洲。
Jingdezhen was growing naturally fitting in the valleys surrounding rivers, hills, and mountains because of the porcelain industry. The early settlements of the city developed around kiln complexes which included kiln, workshops, and housing. The street pattern was generated by nature and the porcelain industry. Most of the small alleys in between kiln complexes have always approached the Chang river in order to transport porcelain products to the river. The main streets have always been along with Chang river to bring all businesses and commerces together.
Public
帝国窑博物馆的计划与帝国窑废墟的东侧相邻的相当受限的历史区域与Jingdezhen的南北街道网络对齐。凭借其进入，水池和面向西部的桥梁，拥抱了帝国窑废墟的开放档案，欢迎来自帝国窑炉公园的游客。公共行人可以在绿色树冠下的森林中徘徊，穿过桥，流入博物馆的门厅。
Concept
The Imperial Kiln Museum comprises more than half a dozen brick vaults base on the traditional form of the kiln, each of the vaults is of a different size, curvature, and length. They were naturally applied to the site, carefully integrated with many existing ruins including a few ruins that were found after the construction.
The unparalleled, liner, and arched structures of the museum, like old kilns, reach below the level of the street to not only give the flexibility to adapt itself into the complicated site, but also to achieve the intimate scale of interior space. This strategy - in part also as a response to the height of surrounding historical buildings - leads to productive ambiguity in relation to the building’s horizontal datum. The “insertion” of the building into the ground of the site produces a series of public spaces at street level. More importantly, it allows for the design of a number of more intimate open vaults, and courtyards within the museum. Most of those public spaces are covered under shaded and are protected from the rain because it is hot and it rains a lot during summer in Jingdezhen. One of those open spaces, two open vaults sited in both ends, will also reveal the traces of the historic fabric on the site.
当一个人在桥上行走，进入门厅并向左转时，他将经过一系列拱形的展览空间，大小略有不同，并且与开放性（封闭或向天空开放）相矛盾，以遇到一个柔和的楼梯，最后有五个沉没的庭院，流到地下水平。同时，人们可以在看到那些瓷器，废墟和沉没的庭院时获得三合一的（窑炉人民）博物馆的体验，从而创造了歧管层在立面上的古老砖块的体验。当某人在门厅里转身时，他将分别通过书店，咖啡厅，茶室，最后到达拱门下的半户外区域，目睹了风景如画的场景。当白天浮出水面时，这些拱门反映了水的波浪，而低的水平差距则诱使人们坐在地板上看到帝国窑废墟的漫长地平线。当某人看到帝国窑炉的Longzhu Pavilion通过垂直接缝在前往礼堂之前通过垂直接缝时，会产生类似的惊喜。
Five sunken courtyards varied in size have a different theme: gold, wood, water, fire, soil. Those five themes not only reflect old Chinese thinking about the earth but also associate with porcelain making techniques.
The overall experience of the museum tries to rediscover the roots of Jingdezhen, to recreate the past experience among kiln, porcelain, and human being.
Structure and Materials
建筑师对当地的古代窑炉构造和材料着迷。看着过去，工匠以非常特殊的方式建造了砖窑。薄砖窑以最小材料实现了最大的内部空间，砖窑以有机形式出现，反映了从一端到另一端的热流。
博物馆的基本结构是一个拱形结构系统，它是由混凝土组成的，该混凝土倒入两层砖石砖墙之间。有一个小拱门是垂直的布局，以连接两个拱门。
使用回收窑砖建造房屋kinds of buildings is a significant character in Jingdezhen because brick kilns have to be demolished every two or three years in order to keep a certain thermal performance of the kilns. The entire city was covered by recycled kiln bricks. Those bricks record warmth and are inseparable from the lifeblood of the city. In the past, the children would take a warm brick from the firing kilns to place in their schoolbags to keep themselves warm the whole day during freezing winter.
The materials of the museum are dominated by bricks, recycled old kiln bricks are mixed with new bricks to reflect the local culture of construction.
新砖头组合提出的两个不同历史阶段的交织必须引起人们的兴趣，好奇心，创造新的问题并给出新的答案。这些创造了与人们的思想互动，他们不可避免地唤起回忆并享受独特的体验。过去不能消除过去，但可以通过叙述一种新的意识和成熟度来重写，这是一种当代的考古学。
访客可以通过外部和内部之间的反复接触来获得360度的感官体验，从而刺激触摸，气味，听力和视力，并将其转移到过去，现在和自然之间。
自然光
Even the light evokes active and tangible memories and is the proof of how ancient techniques can be reinterpreted and reread in a contemporary key.
内部自然光是天窗和沉没的庭院实现的，并受到古代砖窑的烟雾的启发。空心圆柱形状的天窗分布在拱门的顶部，在白天和夜间人造光线上提供自然光。
