Nanjing Yangtze Bridge, completed in the year of 1968, is of great significance in Chinese bridge history as it is the first double-decked railway and highway combined one designed and built by Chinese. The bridgehead designed by academician Zhong Xunzheng in the late 1960s is known as a classic work in Chinese modern architecture history.
南京長江大橋建成於1968年，是長江上第一座由中國自行設計和建造的雙層鐵路、公路兩用橋樑，在中國橋樑史乃至世界橋樑史上具有重要意義。大橋橋頭堡建築由鍾訓正院士於1960年代初設計，是中國現代建築史上的經典作品。
A maiden closed overhaul for the highway of the bridge was held by related department from Oct. 2016. Meanwhile, the bridge itself was restored as a cultural relics protection units while the conservation and renovation of the bridgehead was specially symbolic significance.
有關部門於2016年10月起，對大橋公路橋進行了建成之後的首次封閉大修，同時對作為首批中國20世紀建築遺產的橋頭堡建築的保護修繕具有特殊的標誌性意義。
During the repairing，Professor Lu Andongfrom Nanjing University integrated various social resources to initiated aseries of activities related to the design of the bridge. These activities includedA collection of memories of the Yangtze Bridge and the planning of Bridge Park.The exhibition design of bridgehead memorial hall which came into play one ofthe most important part.
在橋頭堡的保護修繕的同時，南京大學魯安東教授整合各界資源，聯合南京大學、南京市委宣傳部、南京藝術學院和上海鐵路局南京橋工段，共同發起大橋記憶計劃、大橋公園公園規劃設計等一系列關於大橋的設計活動。橋頭堡紀念館展陳設計也是其中重要的一環。
大橋記憶計劃（魯安東教授） A collection of memories of the YangtzeBridge (by Lu Andong）
The Nanjing Yangtze Bridge memorial hall,as the first memorial dedicated to display the historical background andheritage of the bridge, is set up on the ground floor of thesouth bridgehead located in the Bridge Park on the south bank of YangtzeRiver.
長江南岸大橋公園內的南橋頭堡一層設立“南京長江大橋紀念館”。該館是首座以展示大橋歷史背景及文物資料而專門設立的紀念館。
長江大橋南堡原始照片 The vintage photos of the origin interiorof south bridgehead
The major function of the bridgehead isin fact as two tubular structures for the sides vertical traffic from thehighway of the bridge down to the bridge park on the bank. The interior spaceof the bridgehead comprises the tubes within stairs and elevators on both sidesand the memorial hall in the middle.
大橋橋頭堡建築的功能性主體實際上是大橋東、西兩側從大橋公園地面至公路橋橋面的垂直交通體，其內部包括樓梯和電梯。以及中間的一個紀念廳。
紀念廳修繕改造（淳慶）及燈光改造（張昕）完成後的紀念廳頂部
The ceiling of the memorial hall after therestoration (by Chun Qing）andlighting work (by Zhang Xin）
Between the two traffic tubes there arefittingly four piers connecting the steel structure of the main bridge and theconcrete structure of the approach bridge. The very four piers have defined a loftyspace which consist of the monumental scale of the central hall(b) and an upperdark-story below the railway-deck of the bridge. The memorial hall has used theground space including the central hall, the two entrance poches on the ground floorin the sides traffic tubes, and as well as the auxiliary space for reception undera viewing platform behind the hall and the traffic tubes. Exhibition for thememorial hall, designed by a cooperation between FANAF and LanD Studio, is displayedmainly in the central hall and the sides entrance porches.
東、西兩側兩交通體之間正好是大橋鋼結構主體和鋼筋混凝土結構引橋交接處的四個橋墩，這四個橋墩之間限定出的高聳空間，在鐵路橋面以下形成了紀念性尺度的中央大廳（b）和其上的暗層。紀念館主要利用了橋頭堡底層空間，包括中央大廳，東、西交通體的底層入口門廳（a、c），以及大廳和兩交通體北側閱江平臺下的輔助、接待空間。紀念館展陳內容主要部分設於中央大廳和兩交通體門廳中，展陳設施設計由反幾與LanD Studio共同完成。
空間軸側圖（左） 與 展覽流線圖（右）
axonometric view (left) and diagram ofmotion line(right)
The repair work of the bridgehead whichas much as possible restore the exterior and interior appearance of the originarchitecturebased on authenticity, preceded the interior design ofmemorial hall. The exhibition design established on the interior space of therestored cultural relics must ensure the“minimum intervention”to the “site”. The interiorand display however, should contribute to the integrating of historical spaceand atmosphere as well as the maintenance of distinguishable characteristics.
大橋橋頭堡建築的修繕工程先於展陳設施完成，修繕工作以原真性為原則，儘可能地恢復了橋頭堡的外觀和內部的歷史原貌。展陳設施設計以修繕後的橋頭堡內部空間為“場地”，首先要保證對修繕後文物本體的構造層面的“最小干預”。同時，展陳設施既要融入歷史性空間氛圍中，又應具有可識別性。
According to the visiting motion line,we set the order of exhibition space: the east entrance poche (a), the centralhall (b), the west entrance poche (c), and finally the north auxiliary space.
One would felt the changes of space andatmosphere since the scale of the space varies greatly among the central hall theentrance poches. Display of the exhibition should respond to the differentspatial scale and mood while combine the several exhibition rooms.
展廳的中央大廳與東、西交通體門廳之間，空間尺度差異極大。根據展線設定，觀展空間序列為：東側交通體門廳（a）、中央大廳（b）、西側交通體門廳（c），再繼續進入北側展廳。觀展過程中將感受到空間尺度和氛圍的強烈對比和切換。展陳設施既要回應不同的空間尺度和氛圍，又要在這些空間之間形成關聯。
On the other hand, the contents of theexhibition are consisted with massive traditional objects of daily life and laborwork corresponding to the body measure and human behavior. Our design was confrontedwith the problem of whether to suitably present the exhibits relate to humanscale in a soaring and lofty space.
另一方面，紀念館的展陳內容包含了大量與大橋記憶相關的日常生活用品、勞動生產工具等。這些物品大多與人體和日常生活中的行為尺度相關。如何在紀念性尺度的空間中呈現與人的尺度相關的展品成為展陳設施設計面臨的問題。
We have finally come up with theinterior design which transit the different scale among the exhibition roomsand naturally integrate the grand central hall with the dwarfish exhibits bycontrolling the measurement, applicating proper materials and refining thebuilding details.
設計通過對展覽裝置的進行尺寸的精準把控、材料的合理運用及構造的精煉處理讓內裝設計完成了幾個展廳間的尺度過渡，以及宏偉的大廳與微小的展物間的自然承接。
尺度
Scale
The design attempts to strengthen the continuity and relevance between the exhibition facilities and the original space, as well as between the exhibition facilities in different spaces by connecting the scale of exhibition facilities with the spatial elements and component scales of the bridgehead building itself.
設計試圖通過使展陳設施的尺度與橋頭堡建築本身的空間要素、構件尺度發生關聯，以加強展陳設施與原有空間，以及不同空間內的展陳設施之間的連續性、關聯性。
On the façade of the bridgehead, thereis a reference line started from the canopy upon the gate of the east entrancepoche, along with the upper edge of beam of central hall gate, to the canopy ofthe west poche. The refence line could also be noticed from inner space by the secondparting line up from the skirting line. Therefore,the height is regarded as a horizontalcontrol reference for the interior.
在橋頭堡正立面中，中中央大廳主入口門樑上沿和東、西交通體門廳入口雨篷上沿形成連續的控制線。這一控制線，在內部空間中仍然可以被閱讀。除了從室內看到與之對應的窗洞下沿，東、西交通體門廳室內牆面踢腳線以上第二道飾面分縫亦與之關聯。設計以此參考線作為紀念館展陳設施的高度控制參照。
In the east and west entrance poches,the locating and sizing of the display cases in exhibition walls refer to thegate and windows on the façade.
在東、西兩側交通體門廳中，入口處的展牆開洞，延續了立面門洞和兩側窄窗洞口的尺度，展牆洞口的上沿與門、窗洞口上沿對齊，這也成為其他部分展陳設施開口的控制參照。
In the central hall, all the displayitems seem minuscule comparing to the very large space. Hence we abolished the generalvertical interface to display and built several open cabinets with niche spacesto define the ergonomic exhibition space. Visitors would only slightly bow whenenjoying an exhibit and immersion increases.
在中央大廳中，與大廳宏大的空間尺度相比，所展陳的物體尺度堪稱微小。在此，設計取消了一般展櫃的垂直界面，使之形成開敞的內凹壁龕，在巨大的空間中限定出與人體尺度相近的展示空間，增加觀展者欠身觀看展品時的沉浸感。
材料
Material
Our material of exhibition facilities shallgive out both coordination and contrast with the site on different levels throughthe conduct of vision and touch.
設計通過對展陳設施所用材料的視覺、觸覺上的處理，使其在不同層面給人與“場地”協調或對比的感受。
In the eastern entrance poche, thesurfaces of the exhibition wall and showcases are finished with light grey feltplates which harmonizes with the original terrazzo interior wall in sense of colorwhile contrast the terrazzo in sense of touch. The light grey felt plates also interactwith the similar colored artificial stone from the doors and windows set on thefaçade. As a whole，thegrey tone brings out the major exhibition items: three pieces of brown wooden bas-relief.
在東側交通體門廳中，展牆、展櫃完成面為淺灰色毛氈板，在視覺上不僅與該處室內原有的水磨石材質相協調，也與室外立面的淺灰色斬假石門窗套相關聯，同時襯托出序廳的主要展品——3塊棕色木製淺浮雕原件。而在觸覺上，淺灰色毛氈板又與既有的水磨石材質相對比。
The south wall of the central hall integratesthe door beam by continuing the light grey felt from east entrance poche. Either end of the south wall extends northwardto form the side cabinet of the hall. The material of the display herein has changedto a light-colored vacuum slab in similar color to that of the felt board, revealingthe upgrade of the spatial commemoration. The main material of the inner niche space of the cabinets is brown wood veneerwhich matches the solemnity of the hall and echoes the wooden embossed plate inthe eastern entrance poche.
中央大廳的南側展牆延續了東側交通體門廳中的淺灰色毛氈板材質，並與門梁形成整體。南側展牆兩端向北轉折形成大廳兩翼的展櫃，在此，展櫃材質轉換為顏色與毛氈板接近的淺色真空石板，顯示出其空間位置的紀念性等級的提升。展櫃的內凹壁龕空間採用了棕色木飾面，與大廳整體的莊重氣氛相稱，也呼應了東側門廳展示的木浮雕板。
The exhibition route extends to the westentrance poche. However, the light-colored material converts to black felt plates,indicating that the exhibition theme has changed as the virtual display has beencontained into the exhibition route. This black exhibition wall extending towardnorth has strengthened the guideline.
展線延伸至西側交通體門廳，淺色材質切換為黑色毛氈板，暗示了展陳主題的切換。同時也將實景展示部分涵蓋在了這段展線內。黑色展牆向北延伸，加強了引導作用。
All the exhibition facilities are oflightweight construction attached to the cultural relics in a contact way toadapt to the future alteration and adjustment of display.
所有的展陳設施都採用輕質結構，以“接觸”的方式附著於文物文體，以適應未來展陳的變更、調整。
Nanjing Yangtze river bridge is abuilt heritage with complex historical connotations while the cognition and interpretationfrom the society are still being deepened and expanded. Therefore, our designhere and now has never aimed to a complement, but a proper response to a statein process.
南京長江大橋是具有複雜歷史內涵的建成遺產，社會對其的認知和詮釋，仍在不斷地深入和拓展之中。因此，此時此地的“設計”並非以一個完成狀態為目標，而是對一種過程狀態的得體的回應。
Dec 29 of 2018
marked the 50thanniversary of Nanjing Yangtze River Bridge Bridge, and the Nanjing YangtzeRiver Bridge Memorial Hall located at the southern end of the bridge was openedto the public.
2018年12月29日，南京長江大橋建成通車50週年之際，
大橋南橋頭堡內的南京長江大橋紀念館向社會公眾開放。
項目名稱： 南京長江大橋橋頭堡室內展陳設計項目
項目地點：南京長江大橋南堡
設計面積：1500平方米
總建築師：魯安東（南京大學建築規劃設計研究院）
室內設計：反幾 FANAF & LanD Studio
文保修復：淳慶（東南大學）
燈光照明：張昕（清華大學）
展陳設計：LanD Studio
設計週期：2017年06月-2018年03月
施工週期：2018年06月-2019年01月
文字編輯：金鑫、楊侃、魯安東、趙天亞
後期攝影：侯博文 & ingallery 金嘯文 & 琢墨(ZOOM)建築攝影
Project title: Nanjing YangtzeRiver Bridge Memorial Hall
Project site: Nanjing YangtzeRiver Bridge, Nanjing
Interior area: 1500㎡
Chief architect: Lu Andong
Interior design: FANAF & LanD Studio
Restoration of cultural relics:Chun Qin
lighting design:Zhang Xin
Exhibition design：LanD Studio
Design cycle: 2017.06-2018.03
Construction cycle: 2018.06-2019.01
Author: Jin Xin,Yang Kan,Lu Andong,Zhao Tianya
Photography: Hou Bowen, ingallery Jin Xiaowen, ZOOM
反幾建築
FANAF
反幾事務所（FANAF)主要設計內容涵蓋建築、室內、景觀、傢俱等，並以舊建築改造為主要設計方向，長期關注城市空間更新與鄉村空間振興活動。舉一反幾，創造更多可能性。
聯繫郵箱：[email protected]
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