——RCR Arquitectes 关于一些基本建筑问题的自问自答
“—— place: subject oneself or subject it?”
“—— neither; one has to seek a dialogue between equals in order to produce a new solid unity.”
——Self-Q & A on some basic problems about architecture by RCR Arquitectes
▼博物馆内部概览，overview of the museum
Jiangnan Mintage Museum and the Headquarters of Kingjee Group is located in the National Leading Talents Pioneer Park, No. 66 Lingjiaoshi, Laifeng Street, Nanjing. It is partly renovated from an old factory building, including a small museum open to the public, the Jiangnan Mintage Museum, and the office, reception and exhibition areas of Kingjee Group. As the group serves as the developer and operator of the Pioneer Park, and the museum takes the history and culture of the park as its display content, it becomes particularly essential to place the project into the historical and spatial context of the whole park.
▼总部办公区概览，interior view of the headquarters
Historical Context of the Park
The National Leading Talents Pioneer Park was formerly Nanjing No.2 Machine Tool Factory, whose history can be traced back to 1896, when Liu Kunyi, the Viceroy of Liangjiang, established the “Jiangnan General Mint of Casting Silver”. In 1912, after the Chinese Bourgeois Democratic Revolution, the factory was renamed “Jiangnan Mint of Republic of China”, which was later subordinated to the Ministry of Industry and Commerce in 1930 and was transformed into the “Metrology Factory” under the jurisdiction of the National Metrology Bureau. After Nanjing was liberated in 1949, it became the local state-owned “Nanjing Metrology Factory”. During the Public-Private Joint Venture, “Nanjing No. 1 Machinery Factory” was formed in 1955 and was renamed “Nanjing No.2 Machine Tool Factory” in 1959 until 2012, when the factory moved out and the project of National Leading Talents Pioneer Park was launched.The present layout and relics of the factory area were all formed after the liberation. Through sorting out and researching the historical documents and maps, FANAF had clarified developing process and morphological changes of the factory area. Also, the models made according to their researches would be one of the exhibition contents of Jiangnan Mintage Museum.
▼厂区地界及项目位置，plot of factory and location of the project
Evaluation of the Industrial Building Structure “Brick Arch Crane Girders”
The No.8 Building in the park, which the project in located in, is a former casting workshop built in the early 1960s. The main body of the workshop has a length of 60 meters and a depth of 23.8 meters. The main structure of the workshop is composed of 3 rows of load-bearing wall of mixed structure with 2 rows of 20 trusses laying on them. Each load-bearing wall has continuous brick arches in lower part, which convert to columns of mixed structure in upper part. The 3 rows of continuous brick arches included in 3 rows of load-bearing wall each has 21 arches. The existence of these 3 rows of continuous brick arches have resulted in the sharp contrast between the interior and exterior impression of the factory building. From the outside, the casting factory appears to be plain and dull with pedestrian square windows on plastered walls. While inside, 3 rows of brick arches have been offering a strong sense of rhythm in form, and the corbeling structure and arch coupons built with exposed brickwork showing a tectonic aesthetics unique to masonry construction. The north and south rows of the 3 brick arches are completely concealed from the facade, negating their expressive function of architectural forms. Whereas their significant difference from the upper walls indicates that the form of masonry structure is not considered for supporting the roof loads, either. So it can be inferred that they are related to the special needs in the industrial production process.
▼“铸造车间”主体结构示意，main structure of the casting workshop
Through documentary researches and interviews, FANAF confirmed that these brick arch structures were formed out of engineering measures of replacing conventional concrete structure crane girders with continuous brick arch ones, due to the lack of reinforced concrete materials in the late 1950s and early 1960s. As a pattern of industrial building structure in the special period, it reflects the industrial and social conditions at that time and thus possesses its own historical value.
▼项目整体结构建造时期分析，structure constructed at different times
The project occupies the area corresponding to 8 of the 21 arches in a row. The other parts of the casting workshop belong to others.The casting workshop had already undergone a transformation early before FANAF took over the project. The aim of the former renovation was to transform the industrial building into an art gallery. A sandwich floor supported by reinforced concrete frame structure had been implanted in the original factory building, dividing the large space into upper and lower floors. The elevation of the sandwich floor was equal to the top of the masonry structure of brick arch, so that the brick arch could only be seen from the lower floor below the sandwich floor as well as from the two-story high hall.Whereas now the client requests that the large space originally used as the art gallery be transformed into the business area of its headquarters, including spaces of various scales for office, reception and display uses. As a result, the main problems encountered during architectural design should be: How to redefine the small-scale spaces in the existing renovated lower floor according to the change of use and requirements. And how to associate the space definition with the retained brick arch so that the elegance of the brick arch construction can be fully presented as well.
▼既有改造之后的结构示意及项目工作范围，structure after the former renovation, and working area of the project
Take a structural unit from the structure of the workshop to make analysis of dimensional adaptation.
Type 1: Arch Form Element
Imbedding arch form elements between the brick arches, defining and dividing spaces with transforming, shifting etc. of arch form elements, making brick arches related and continued.
▼空间转换类型一，spatial adaptation type 1
Type 2: “Internal Envelope”
Setting “internal envelope” into the workshop, forming small environment inside with good insulation performance and own air-conditioning system, making private functional space in open working space.
▼空间转换类型二，spatial adaptation type 2
▼方案概念图示，conceptual diagram of project
Three rows of brick arches divide the project area into two: the north and the south.A series of small spaces is located in the north area in the project, among which washing room and VIP room is set between museum (more public) and Executive working area (more private) defining the buffer space connecting to the hall. Museum is located in the east end of the north area facing the public space in the park, and is related to the main circulation of the park through an existing entrance. Interior arch form elements divide the museum into three parts each corresponding to exhibition, reception and other functions.
▼整体分为南北两区，北区东侧为博物馆区域，project is divided into two: the north and the south; museum is located in the east end of the north area
▼博物馆内部设置的“拱”形要素将空间划分为三部分，interior arch form elements divide the museum into three parts
▼博物馆展示区域，exhibition area at the museum
Executive working area includes 4 offices defined each by one barrel vault, and one “internal envelope” as a small meeting room. The “internal envelope”, bar and other serving facilities forming the sharing space between the executive offices and the open working space.
▼北区西侧为高管办公区，通过盥洗室和VIP接待室与博物馆分隔开，executive working area at the west end of the north area, washing room and VIP room is set between museum and executive working area
The spatial dimension of the south area is roughly kept. The east end includes existing hall and stairs to the upper level. The west end serves for open working area where desks are arranged relating to the brick arches.
▼整个南区为办公区域，包括通高门厅与开放办公区，south area is used as offices, including a large hall and open working area
Arch as a reinvigorated commonplace – Arch has been used so extensively in architectural and interior projects recently that it’s almost fallen from popular to commonplace. Though distancing the extraneous popular patterns, we were inspired by the time-honored arches within the site that only more and new arches could engender a complete while clear-cut relationship, and it proved appropriate.In conclusion, the project provides high-quality spaces of various dimensions, atmosphere and functions, highly presents the tectonics of the “Brick Arch Crane Girders”, and manifests an industrial heritage with unique value in Nanjing.
▼拱券形成的临窗休息区域，leisure area in arch form
▼拱券设计手法充分呈现出“砖拱吊车梁”工业结构的建构之美，arch as the design approach highly presents the tectonics of the “Brick Arch Crane Girders”
设计团队：万军杰 金鑫 章振东 张旭 李崇昊
设计周期: 2017年7月- 12月
Project title: Jiangnan Mint Museum in Nanjing
Project site: No. 8 Building, Nanjing National Innovation Park of Leading Talents
Interior area: 520sqm
Renovation: FANAF Architects
Design team: Wan Junjie, Jin Xin,Zhang Zhendong,Zhang Xu,Li Chonghao
Project operation:Gao lu,Jin xin
Design cycle: Jun.-Dec.2017
Construction cycle: Dec. 2017- Aug. 2018
Historical research：FANAF Architects & Yang Kan (PhD in Architecture from Nanjing University )
Model blacksmithing：Nanjing Fengshang Sculptural Art Co., Ltd
Cast manufacturing：Nanjing Shenjiang Environmental Art Co., Ltd
Soft decoration: FANAF Architects, Board office & Design Department of Nanjing Golden Pedestal Corporation
Metalwork guidance：Wang Kezhen
Client：Nanjing Golden Pedestal Corporation
Author：Yang Kan Wan Junjie
Photography: ingallery Jin Xiaowen & Zhao Yilong