The story of Yingge can be told from the Yingge Stone Mountain during the end of Ming dynasty and started to populate in mid Qing dynasty. It started its blossom due to industrial material-clay around Jianshang during the migration of pottery industry. The industry was declined, but some of the historical heritages were imprinted on the land. We are inspired by the history to redefine the best museum location on site.

People used to have closer relationship in their daily life along the Takekan River as well as the land. There used to be no solid boundary and images like sampans coursing dock along the river rocks were enjoying moments. Li Mei-shu’s works picture the role of the Takekan River in San-Kak-Eng area. Geologically and historically speaking, river and clay play the most important role in Yingge which direct the design intension of this proposal.

Clay-water interaction is a term to describe various progressive interactions between clay particles and water. The performing ability direct by the mass of water, the distance in-between and particles carried along the water. Our design process categorizes the complex interactions into internal behavior and external behavior. The Museum massing is not only performing base on the interaction analysis generated from the environment but also base on the performing ability of the Museum programming.

鶯歌的起源大致可以從明朝末年開始，於尖山發現黏土後陶瓷產業奠定了鶯歌繁華的基礎，如今陶瓷產業沒落了但卻留下了不少當初繁華一時的產業遺跡，本設計案是藉由陶瓷產 業遷移的過程為發想，藉由“黏土-水”相互作用的特性，在歷史文化與環境間為此博物館建築尋求一個平衡的布局。

從歷史的老照片來看，這周遭居民的日常生活與大嵙崁溪水岸有較密切且曖昧的互動與和睦的關係，過往的生活裡沒有生硬的邊界界定河岸與水體，舢板船很自然的停靠在河岸邊 的岩塊旁，隨著時節的不同河岸有著不一樣生活上活動的邊界。李樹梅大師的畫作很清楚的描繪了過往鶯歌地區大科坎溪的生活景象，從地質與歷史文化發展的角度來看鶯歌地區，水跟黏土在鶯歌扮演著兩個相當重要的角色，而這兩部分正是這設計題案發想、操作的依據。

“黏土-水” 的相互作用是用來形容各種漸進式多樣性的黏土粒子和水分子之間的交互作用。水的質量、體積與黏土的距離直接的影響這交互作用的強、弱關係。我們的設計中將這複雜的交互作用分為內在性交互作用與外在性交互作用，外在性的交互作用乃從環境周遭與水體的關係，藉由黏土跟水在陶業中的物理性質的特性在這廣大的美術園區裡找到一塊適合座落建築的區塊，進而決定博物館建築的配置；而內在性的交互作用乃藉由黏土跟水的物理特性，定義了此博物館自身機能性上與參觀者、參觀動線間相對應的互動性強、弱的空間布局關係。