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.
南京长江大桥建成于1968年，是长江上第一座由中国自行设计和建造的双层铁路、公路两用桥梁，在中国桥梁史乃至世界桥梁史上具有重要意义。大桥桥头堡建筑由钟训正院士于1960年代初设计，是中国现代建筑史上的经典作品。
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.
有关部门于2016年10月起，对大桥公路桥进行了建成之后的首次封闭大修，同时对作为首批中国20世纪建筑遗产的桥头堡建筑的保护修缮具有特殊的标志性意义。
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.
在桥头堡的保护修缮的同时，南京大学鲁安东教授整合各界资源，联合南京大学、南京市委宣传部、南京艺术学院和上海铁路局南京桥工段，共同发起大桥记忆计划、大桥公园公园规划设计等一系列关于大桥的设计活动。桥头堡纪念馆展陈设计也是其中重要的一环。
大桥记忆计划（鲁安东教授） 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.
长江南岸大桥公园内的南桥头堡一层设立“南京长江大桥纪念馆”。该馆是首座以展示大桥历史背景及文物资料而专门设立的纪念馆。
长江大桥南堡原始照片 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.
大桥桥头堡建筑的功能性主体实际上是大桥东、西两侧从大桥公园地面至公路桥桥面的垂直交通体，其内部包括楼梯和电梯。以及中间的一个纪念厅。
纪念厅修缮改造（淳庆）及灯光改造（张昕）完成后的纪念厅顶部
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.
东、西两侧两交通体之间正好是大桥钢结构主体和钢筋混凝土结构引桥交接处的四个桥墩，这四个桥墩之间限定出的高耸空间，在铁路桥面以下形成了纪念性尺度的中央大厅（b）和其上的暗层。纪念馆主要利用了桥头堡底层空间，包括中央大厅，东、西交通体的底层入口门厅（a、c），以及大厅和两交通体北侧阅江平台下的辅助、接待空间。纪念馆展陈内容主要部分设于中央大厅和两交通体门厅中，展陈设施设计由反几与LanD Studio共同完成。
空间轴侧图（左） 与 展览流线图（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.
大桥桥头堡建筑的修缮工程先于展陈设施完成，修缮工作以原真性为原则，尽可能地恢复了桥头堡的外观和内部的历史原貌。展陈设施设计以修缮后的桥头堡内部空间为“场地”，首先要保证对修缮后文物本体的构造层面的“最小干预”。同时，展陈设施既要融入历史性空间氛围中，又应具有可识别性。
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.
展厅的中央大厅与东、西交通体门厅之间，空间尺度差异极大。根据展线设定，观展空间序列为：东侧交通体门厅（a）、中央大厅（b）、西侧交通体门厅（c），再继续进入北侧展厅。观展过程中将感受到空间尺度和氛围的强烈对比和切换。展陈设施既要回应不同的空间尺度和氛围，又要在这些空间之间形成关联。
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，纪念馆的展陈内容包含了大量与大桥记忆相关的日常生活用品、劳动生产工具等。这些物品大多与人体和日常生活中的行为尺度相关。如何在纪念性尺度的空间中呈现与人的尺度相关的展品成为展陈设施设计面临的问题。
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.
设计通过对展览装置的进行尺寸的精准把控、材料的合理运用及构造的精炼处理让内装设计完成了几个展厅间的尺度过渡，以及宏伟的大厅与微小的展物间的自然承接。
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.
设计试图通过使展陈设施的尺度与桥头堡建筑本身的空间要素、构件尺度发生关联，以加强展陈设施与原有空间，以及不同空间内的展陈设施之间的连续性、关联性。
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.
在桥头堡正立面中，中中央大厅主入口门梁上沿和东、西交通体门厅入口雨篷上沿形成连续的控制线。这一控制线，在内部空间中仍然可以被阅读。除了从室内看到与之对应的窗洞下沿，东、西交通体门厅室内墙面踢脚线以上第二道饰面分缝亦与之关联。设计以此参考线作为纪念馆展陈设施的高度控制参照。
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.
在东、西两侧交通体门厅中，入口处的展墙开洞，延续了立面门洞和两侧窄窗洞口的尺度，展墙洞口的上沿与门、窗洞口上沿对齐，这也成为其他部分展陈设施开口的控制参照。
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.
在中央大厅中，与大厅宏大的空间尺度相比，所展陈的物体尺度堪称微小。在此，设计取消了一般展柜的垂直界面，使之形成开敞的内凹壁龛，在巨大的空间中限定出与人体尺度相近的展示空间，增加观展者欠身观看展品时的沉浸感。
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.
设计通过对展陈设施所用材料的视觉、触觉上的处理，使其在不同层面给人与“场地”协调或对比的感受。
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.
在东侧交通体门厅中，展墙、展柜完成面为浅灰色毛毡板，在视觉上不仅与该处室内原有的水磨石材质相协调，也与室外立面的浅灰色斩假石门窗套相关联，同时衬托出序厅的主要展品——3块棕色木制浅浮雕原件。而在触觉上，浅灰色毛毡板又与既有的水磨石材质相对比。
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.
中央大厅的南侧展墙延续了东侧交通体门厅中的浅灰色毛毡板材质，并与门梁形成整体。南侧展墙两端向北转折形成大厅两翼的展柜，在此，展柜材质转换为颜色与毛毡板接近的浅色真空石板，显示出其空间位置的纪念性等级的提升。展柜的内凹壁龛空间采用了棕色木饰面，与大厅整体的庄重气氛相称，也呼应了东侧门厅展示的木浮雕板。
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.
展线延伸至西侧交通体门厅，浅色材质切换为黑色毛毡板，暗示了展陈主题的切换。同时也将实景展示部分涵盖在了这段展线内。黑色展墙向北延伸，加强了引导作用。
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.
所有的展陈设施都采用轻质结构，以“接触”的方式附着于文物文体，以适应未来展陈的变更、调整。
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.
南京长江大桥是具有复杂历史内涵的建成遗产，社会对其的认知和诠释，仍在不断地深入和拓展之中。因此，此时此地的“设计”并非以一个完成状态为目标，而是对一种过程状态的得体的回应。
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，南京长江大桥建成通车50周年之际，
大桥南桥头堡内的南京长江大桥纪念馆向社会公众开放。
项目名称： 南京长江大桥桥头堡室内展陈设计项目
项目地点：南京长江大桥南堡
设计面积：1500平方米
总建筑师：鲁安东（南京大学建筑规划设计研究院）
室内设计：反几 FANAF & LanD Studio
文保修复：淳庆（东南大学）
灯光照明：张昕（清华大学）
展陈设计：LanD Studio
设计周期：2017年06月-2018年03月
施工周期：2018年06月-2019年01月
文字编辑：金鑫、杨侃、鲁安东、赵天亚
后期摄影：侯博文 & ingallery 金啸文 & 琢墨(ZOOM)建筑摄影
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
反几建筑
FANAF
反几事务所（FANAF)主要设计内容涵盖建筑、室内、景观、家具等，并以旧建筑改造为主要设计方向，长期关注城市空间更新与乡村空间振兴活动。举一反几，创造更多可能性。
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