安吉创意设计中心丨中国浙江丨大舍建筑设计事务所

2025/04/24 10:21:26

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项目位于浙江省安吉县溪龙乡，当地是中国著名的白茶产地。建筑用地是茶田边缘靠近镇区的一处闲置用地，最初计划建设为白茶博物馆和距此不远的旧石器时代的上马坎遗址的博物馆，因此，建筑以两组庭院式的空间蔓延在茶田与水塘间，并将屋顶遍植绿化，使其与田地相融。

Situated in Xilong Township of Anji County, Zhejiang Province—an area renowned as one of China’s premier white tea-producing regions—the project occupies a previously unused plot on the edge of the tea fields near the town center. Originally, the site was designated for the construction of a White Tea Museum, as well as a museum for the nearby Paleolithic archaeological site of Shangmakan. In response, the building was conceived as two courtyard-based clusters extending between tea fields and a natural pond, with green roofs designed to merge the architecture seamlessly into the surrounding agricultural landscape.

▼项目鸟瞰，aerial view of the project © 田方方

建成后的建筑面临了一次功能上的变更，或者说乡村农产品博物馆被以一种更为鼓励参与的模式以新的形式呈现了出来。白茶，仍旧是项目最重要的主题，它从单一的被展示转为积极的推广和设计转化。同时运营方也希望通过营造和组织一种新型创意空间把年轻人从拥挤的都市里吸引到乡村，提供给旅居者、数字游民等使用者一种远程工作和生活的新可能。

▼模型，models ©大舍建筑

After its completion, the building underwent a shift in program—or rather, the idea of a rural agricultural product museum evolved into a new model that emphasizes engagement and participation. White tea remains the central theme of the project, but its role has been redefined—from passive exhibition to active promotion and creative reinterpretation. At the same time, the operating entity envisioned the site as a new type of creative hub, one that would attract young people away from the congested city and into the countryside. The aim was to offer a new model of remote work and rural living for travelers, digital nomads, and other contemporary users.

▼近景鸟瞰，aerial view of the roofs © 田方方

安吉创意中心的布局得益于建筑最初设计时所采用的弹性空间的方式，不同大小的展厅分散布置在起伏的场地中，以廊连接，这样，这些呈两组分散又聚集的展厅、办公、教育、商店、茶室等相关空间群可以分别展示不同的内容，分供不同人群创意办公，也可以共享围绕主题而展开各种文化活动。

▼分析图，analysis diagram ©大舍建筑

The layout of ACDC benefits from the original architectural strategy of flexible spatial distribution. Exhibition halls of various sizes are dispersed across the undulating terrain and connected by covered walkways. This approach allows the scattered-yet-connected clusters of exhibition halls, workspace, educational space, retail spaces, and tea rooms to serve multiple purposes: accommodating diverse forms of creative work, addressing different user groups, and supporting a range of thematic cultural events through both independent and shared programs.

▼室内概览，overall of interior © 田方方

▼室内一隅，corner of interior © 田方方

当地起伏的茶田是人工对于自然地形的抽象，这样的景观是一种特殊的自然，其中暗含了种茶的规律。建筑也采用了类似的方式。它在平面上呈正交网格的空间系统仿佛是城镇的延展，然而在竖直方向上却是在起伏地形上的再次起伏，这既满足了空间的功用，也暗含了原始地形的规律，也是对地表形态的再造。它们和蜿蜒的茶田一起，构建了这块土地上的新景观。

The undulating tea fields of Anji represent a human-made abstraction of natural topography—a unique kind of cultivated landscape shaped by the rhythm of tea planting. The architecture adopts a similar strategy. On plan, it follows an orthogonal grid reminiscent of an urban extension; yet in section, it mirrors and amplifies the site’s natural undulations. This dual gesture not only serves the building’s functional needs but also resonates with the hidden order of the original terrain, becoming a re-formation of the landscape itself. Together with the meandering tea fields, the architecture helps generate a new hybrid landscape on this land.

▼建筑形态在平面上呈正交网格，在竖向上起伏蜿蜒，the architectural form is a regular intersecting grid on the plane and undulates and winds in the vertical direction © 田方方

这种景观并非只是视觉性的，建筑在采用了传统的廊院布局的同时，也把廊院的空间地形化了，无论设计中心开门或者关闭，人们都可以在廊院的上部自由穿行，仿佛仍置身于田野之中。

This landscape is not merely visual. While the design employs a traditional courtyard-and-corridor typology, it also renders the courtyards as walkable topographies. Whether the center is open or closed, visitors can roam freely along the upper surfaces of the courtyards and corridors, experiencing the architecture as if moving through the fields themselves.

▼廊院，the courtyards and corridors © 田方方