Atrium as reception and meeting space. Image © Wenjie Hu

中庭作为接待和会议空间。形象：胡文杰

架构师提供的文本描述。金银馆位于上海浦东喜马拉雅中心美术馆内。这座建筑是由日本著名建筑师阿拉塔·泽崎设计的，是中国著名的建筑。

Text description provided by the architects. The Treasure House is located in the Art Gallery of the Himalaya Center in Pudong, Shanghai. The building was designed by the famous Japanese architect Arata Isozaki and is a famous building in China.

Text description provided by the architects. The Treasure House is located in the Art Gallery of the Himalaya Center in Pudong, Shanghai. The building was designed by the famous Japanese architect Arata Isozaki and is a famous building in China.

 Atrium space. Image © Wenjie Hu

中庭空间。形象：胡文杰

 Round atrium ceiling. Image © Wenjie Hu

圆房天花板。形象：文杰胡

金银宫是清代江西景德镇的民居。具体的初始施工周期无法验证。运往上海的部分仅为木结构部分，原砖和瓷砖未装运，部分木结构为补充构件。原来的建筑是一个两层三层的庭院.由于博物馆空间有限，只能容纳两层。此处使用的“容纳”一词是指在中国内地将住宅建筑安装在莫度市(上海)的钢筋混凝土大箱中。而且没有自然光，完全依赖于照明，这正是这种功能从住宅向展厅转变的原因，因为展厅的照明形式是最好的。

The Treasure House is a Qing Dynasty residence from Jingdezhen, Jiangxi. The specific initial construction period can not be verified. The part shipped to Shanghai is only the wooden structure part, the original bricks and tiles are not shipped, and part of the wood structure is supplemented components. The original building is a two-story, three-layer courtyard. Due to the limited space of the museum, only two layers can be accommodated. The term "accommodated" as used here refers to the installation of a residential building in the hinterland of China into a large box of reinforced concrete in the Modu City (Shanghai). And there is no natural light, relying entirely on lighting, which is just right for this function change from the residence to the exhibition hall, because the lighting form of the exhibition hall is best.

The Treasure House is a Qing Dynasty residence from Jingdezhen, Jiangxi. The specific initial construction period can not be verified. The part shipped to Shanghai is only the wooden structure part, the original bricks and tiles are not shipped, and part of the wood structure is supplemented components. The original building is a two-story, three-layer courtyard. Due to the limited space of the museum, only two layers can be accommodated. The term "accommodated" as used here refers to the installation of a residential building in the hinterland of China into a large box of reinforced concrete in the Modu City (Shanghai). And there is no natural light, relying entirely on lighting, which is just right for this function change from the residence to the exhibition hall, because the lighting form of the exhibition hall is best.

 Atrium view from second floor window. Image © Wenjie Hu

二楼窗口的中庭景观。形象：胡文杰

景德镇古代建筑深受明清回族建筑的影响。这个住宅是典型的回族风格.两层间的露台是最具代表性的。它叫四水贵明汤。天井的开放不是很大，但光和影都很精致，充满了仪式的感觉，日常生活很实用。这个空间在博物馆的高度也是有限的，古房子有两层楼，但高度都不高，尤其是上层，它的顶部是一个大型的结构钢梁，而梁底部的高度只有2.4米。最初设想保留钢梁的裸露状态，但600厚的大钢梁在传统木结构前面的体积很大。此外，空调和电线管道复杂，不易清洁和整洁。因此，只使用吊顶，用石膏板密封后钢梁的下部空间仅为2.35米。幸运的是，钢梁之间的差距在处理后的天花板形状已经增大，反射光槽部分安装，使顶部较少的凹陷。天花板的形状在几个地方采用拱形，在古房子一楼入口处的木拱廊屋顶上回音。这个画廊的上部是古房子的惠马朗空间，现在它也成了展区。博物馆空间靠近这个角落的地方高度是三层，所以在展区附近安装了楼梯，连接当地三层小展厅。

The ancient architecture of Jingdezhen was greatly influenced by the Hui-style architecture of the Ming and Qing Dynasties. This residence is typical Hui-style. The patio between the two layers is the most representative. It is called Sishuiguimingtang. The opening of the patio is not big, but the light and shadow are refined, full of ceremonial feeling, and the daily life is very practical. The height of this space in the museum is also limited, the ancient house has two floors, but the height are all not high, especially the upper floor, its top is a large structural steel beam, and the height of the bottom of the beam is only 2.4 meters. Originally it was envisaged to retain the bare state of the steel beam, but the volume of the 600-thick large steel beam is huge in front of the traditional wood structure. Moreover, the pipelines of air conditioners and electric wires are complicated and difficult to be clean and tidy. Therefore, only the suspended ceiling is used and the lower space of the steel beam after sealed with the gypsum board is only 2.35 meters. Fortunately, the gap between the steel beams has been raised after processing the ceiling shape, and the reflection of light trough partially installed makes the top less depressed. The ceiling shape adopts arch in several places to echo the wooden arched gallery roof at the entrance to the first floor of the ancient house. The upper part of this gallery is the space called Huimalang of the ancient house, and now it has also become the exhibition area. The local height of the museum's space near this corner is three floors, so the stairs are installed near this exhibition zone to connect the local three-story small exhibition room.

The ancient architecture of Jingdezhen was greatly influenced by the Hui-style architecture of the Ming and Qing Dynasties. This residence is typical Hui-style. The patio between the two layers is the most representative. It is called Sishuiguimingtang. The opening of the patio is not big, but the light and shadow are refined, full of ceremonial feeling, and the daily life is very practical. The height of this space in the museum is also limited, the ancient house has two floors, but the height are all not high, especially the upper floor, its top is a large structural steel beam, and the height of the bottom of the beam is only 2.4 meters. Originally it was envisaged to retain the bare state of the steel beam, but the volume of the 600-thick large steel beam is huge in front of the traditional wood structure. Moreover, the pipelines of air conditioners and electric wires are complicated and difficult to be clean and tidy. Therefore, only the suspended ceiling is used and the lower space of the steel beam after sealed with the gypsum board is only 2.35 meters. Fortunately, the gap between the steel beams has been raised after processing the ceiling shape, and the reflection of light trough partially installed makes the top less depressed. The ceiling shape adopts arch in several places to echo the wooden arched gallery roof at the entrance to the first floor of the ancient house. The upper part of this gallery is the space called Huimalang of the ancient house, and now it has also become the exhibition area. The local height of the museum's space near this corner is three floors, so the stairs are installed near this exhibition zone to connect the local three-story small exhibition room.

一开始，中庭的底层是用石板铺成的古建筑风格。四面高一步，中间较低(原为排水雨水)。然而，博物馆认为它不够实用。特别是当观众集中在展品上时，他们很容易踩到空中，绊倒，后来统一在同一层次上，更容易安排更大的展品。作为一楼的主要展示区域，两侧机翼的地板都被古董蓝砖覆盖。两层间仍采用传统的木板系统。中庭顶部的圆形露台是这座古房子的亮点，雕刻也很漂亮。圆形庭院在古代回族式建筑中是罕见的.天台顶部模拟阴天的自然天窗，这是相当现实的。博物馆的这个空间里没有自然光。为了防止空间变暗，从第一层到第二层的发光墙设置在最里面的末端。正面给人“窗”的感觉，背面照亮楼梯间。

At the beginning, the ground floor at the atrium was paved with slate in the style of ancient architecture. The four sides were a step higher, and the middle was low (formerly for draining rainwater). However, the museum felt that it was not practical enough. Especially when the audience was concentrating on the exhibits, they were easy to step on the air and tripped, later it was unified into the same level, which made it easier to arrange larger exhibits. As the main display area of the first floor, the floor of the wing-rooms on both sides is covered with antique blue bricks. A traditional wooden slab system is still used between the two floors. The circular patio on the top of the atrium is the highlight of this ancient house, and the carvings are also very beautiful. The circular patio is rare in ancient Hui-style architecture. The top of the patio simulates the natural skylight on a cloudy day, which is quite realistic. There is no natural light in this space of the museum. In order to prevent the space from being dull, a luminous wall from the first floor to the second floor is set at the innermost end. The frontside gives the feeling of "window" and the backside illuminates the stairwell.

At the beginning, the ground floor at the atrium was paved with slate in the style of ancient architecture. The four sides were a step higher, and the middle was low (formerly for draining rainwater). However, the museum felt that it was not practical enough. Especially when the audience was concentrating on the exhibits, they were easy to step on the air and tripped, later it was unified into the same level, which made it easier to arrange larger exhibits. As the main display area of the first floor, the floor of the wing-rooms on both sides is covered with antique blue bricks. A traditional wooden slab system is still used between the two floors. The circular patio on the top of the atrium is the highlight of this ancient house, and the carvings are also very beautiful. The circular patio is rare in ancient Hui-style architecture. The top of the patio simulates the natural skylight on a cloudy day, which is quite realistic. There is no natural light in this space of the museum. In order to prevent the space from being dull, a luminous wall from the first floor to the second floor is set at the innermost end. The frontside gives the feeling of "window" and the backside illuminates the stairwell.

 Gallery space based on the old house wing. Image © Wenjie Hu

画廊的空间是以旧房子为基础的。形象：文杰胡

二楼比一楼有更多的新元素。除了展示功能外，还设置了一个会议区域，作为一个小型会议和沙龙空间。实施效果基本上坚持了设计师提出的“老旧新”的原则，用简单的“新”来引发复杂的“旧”，在冲突中基本实现了新旧的对比与协调。

The second floor has more new elements than the first floor. In addition to the display function, a meeting area is set up as a small meeting and salon space. The implementation effect has basically adhered to the principle of “old is old, new is new” proposed by the designer, with the simple “new” to set off the complicated “old”, has basically realized the contrast and harmony between the new and the old in the conflict.

The second floor has more new elements than the first floor. In addition to the display function, a meeting area is set up as a small meeting and salon space. The implementation effect has basically adhered to the principle of “old is old, new is new” proposed by the designer, with the simple “new” to set off the complicated “old”, has basically realized the contrast and harmony between the new and the old in the conflict.

 Second floor exhibition cabinet. Image © Wenjie Hu

二楼展览柜。形象：胡文杰

 Second floor space. Image © Wenjie Hu

二楼空间。形象：胡文杰

博物馆入口处有一条3米宽的空间带，这是古屋原址的街道空间元素。原来的门楼已经不存在了，原来设计师设计的入口是一种完全现代的风格，但博物馆坚持要有一座古色古香的门楼，最后我们不得不模拟一个相对简单的门楼。作为古代建筑的主要元素，木结构和粉末墙都是可用的，但“瓦”的元素却缺失了，因为没有办法复制屋顶，也有两种局部的“山与水”的自然元素缺失。于是设计师把几座“山”堆在门屋对面的墙上，用蓝色小瓷砖作画，构图手法是传统的山水画，认为空白是墨，大面积留下的白墙就像湖的“水”。象征主义的使用给了人们无限的联想。角落里也有一些发光的“竹竿”，就像近景，使画面层次分明。

At the entrance of the museum, there is a strip of space with width of 3 meters, which is the space element of the street in the original place of the ancient house. The original gate building no longer exists, originally, the designer designed the entrance of a completely modern style, but the museum insisted on an antique gatehouse, and finally we had to simulate a relatively simple gatehouse. As the main elements of ancient architecture, wooden structure and powder wall are all available, but the element of "tile" is missing, because there is no way to copy the roof, there are also two local natural elements of “mountain and water” are missing. So the designer piled a few "mountains" on the wall opposite the gatehouse with small blue tiles, the composition technique is from traditional landscape paintings, reckon blank as inked, and the white wall left by large areas is like the "water" of the lake. The use of symbolism gives people an infinite association. There are also a number of luminous "bamboo poles" in the corner, which is like a close-up view, makes the picture layered.

At the entrance of the museum, there is a strip of space with width of 3 meters, which is the space element of the street in the original place of the ancient house. The original gate building no longer exists, originally, the designer designed the entrance of a completely modern style, but the museum insisted on an antique gatehouse, and finally we had to simulate a relatively simple gatehouse. As the main elements of ancient architecture, wooden structure and powder wall are all available, but the element of "tile" is missing, because there is no way to copy the roof, there are also two local natural elements of “mountain and water” are missing. So the designer piled a few "mountains" on the wall opposite the gatehouse with small blue tiles, the composition technique is from traditional landscape paintings, reckon blank as inked, and the white wall left by large areas is like the "water" of the lake. The use of symbolism gives people an infinite association. There are also a number of luminous "bamboo poles" in the corner, which is like a close-up view, makes the picture layered.

 Entrance lobby. Image © Wenjie Hu

入口大厅。形象：文杰胡

由于博物馆是一座高层建筑，防火等级最高，老房子几乎全是木头，这对于防火非常困难。如果安装了自动喷水灭火系统，管道将一定会破坏古建筑的结构和外观。最后，在空间的四角安装了4个气体灭火喷嘴，解决了这一问题。

Since the museum is a high-rise building, the fire protection is the highest level, and the old house is almost entirely wood, which is very difficult for fire prevention. If the automatic sprinkler system is installed, the pipeline will definitely destroy the wood structure of the ancient house, both structurally and visually. In the end, four gas fire extinguishing nozzles have been installed at the four corners of the space to solve this problem.

Since the museum is a high-rise building, the fire protection is the highest level, and the old house is almost entirely wood, which is very difficult for fire prevention. If the automatic sprinkler system is installed, the pipeline will definitely destroy the wood structure of the ancient house, both structurally and visually. In the end, four gas fire extinguishing nozzles have been installed at the four corners of the space to solve this problem.

 Mountain, river, bamboo, tile. Image © Wenjie Hu

山，河，竹子，瓷砖。形象：胡文杰

Interiors Designers Shanghai Shan Xiang Architectural Design Co., Ltd.

Location 3/F, Art Museum, 869 Cherry Blossom Road, Pudong New Area, Shanghai, China

Designer ShangXiang Wang

Participants Tongyi Zhang, Shuangyan Gong

Area 540.0 m2

Project Year 2017

Photographs Wenjie Hu

Category Refurbishment