We explored various sites in the garden, but each one felt too imposing. Ultimately, we decided to integrate the gallery into an existing group of farmyard buildings. This subtle integration allowed the gallery to merge into its surroundings while maintaining an air of quiet discovery. On the outside, the gallery was conceived as a simple, windowless agricultural barn—modest and unassuming. However, stepping inside, visitors are greeted with an unexpectedly grand space, an expansive central nave surrounded by smaller galleries.

The design anticipates that the collector will spend hours rearranging the porcelain, engaging with the history and art in a thoughtful, meditative way. Natural light pours through a long skylight above a large study table, where contemplation and acquisition take place. The design respects the porcelain’s needs—temperature, humidity, and UV-light-free—and is sealed, insulated, and powered by a simple air-source heat pump. The challenge, however, was to light the six hundred pieces without overwhelming them with harsh shadows. We solved this by using translucent ceilings, which diffuse the light, creating a calm, natural atmosphere that gently highlights the porcelain’s subtle hues.