The essence of architecture is the product of culture. The generation of architectural form is linked to a deep structure embedded in the collective memory accumulated through urban history—a “collectal unconscious” that embodies shared values and an archetypal identity within a specific cultural context.– Aldo Rossi, The Architecture of the City
Urban Cultural Cross
A cross-axis has emerged in the historic Qinhuai District of Nanjing. The north–south axis connects culturally significant architecture, including the Chaotian Palace from the Ming and Qing Dynasties and the Jiming Temple, which dates back more than 1,700 years, in the north. Meanwhile, the east–west axis incorporates elements such as the Song Dynasty Shangxin Pavilion, the former residence of Gan Xi from the Jiaqing period of the Qing Dynasty, and the Confucius Temple, which originated in the Jin Dynasty. Together, they form an east–west historical axis perpendicular to the site, influencing axial relationships within it and reinforcing a sense of place through historical imprints and spatial behavior.
Although the social activities embedded in this historical framework have undergone significant changes over time, the spirit of place continues to unfold along this cross-axis. Along the banks of the Qinhuai River, more spatial footprints have emerged, suggesting an inherent cultural essence. Looking forward, the future urban spatial form—envisioned as an international cultural exchange center—should not only reflect this inherent cultural character but also incorporate future technologies into the evolving urban fabric, enabling both inheritance and reinterpretation.
Ganxi Residence – 99 and a Half Rooms
The former residence of Gan Xi, built during the Jiaqing period of the Qing Dynasty, is the largest and most well-preserved private residence in the area, with a total construction area of 5,700 square meters. It extends along the urban fabric surrounding the Qinhuai River. During the research phase, it was observed that the axial arrangements, scales, and spatial combinations are logically tied to social ritual. This ritualistic quality deepens the spatial order, making the “99 and a half” rooms not merely a spatial configuration but also a reflection of distinctive social and cultural significance.
A. “Jian” – As a prototype of the overall spatial composition, the “Jian” strongly embodies social order. Guided by ritual, the Ganxi Residence faces north with a southward orientation, laid out in a square, regular, and symmetrical manner. This reflects the owner’s adherence to Confucian principles, as well as China’s enduring Confucian rituals.
B. “Wall” – The traditional wall acts as a symbolic tool for dividing the “Jian,” while also serving as a prominent structural element. It controls the spatial scale of the rooms and guides circulation through the complex. Extending along the Qinhuai River, the wall becomes a highly representative symbolic element.
C. “Courtyard” – The courtyard serves as a breathing space within the overall experience—an area where views open up and the senses expand. It acts as a focal point within the overall spatial order.
Site Strategy
The northern side of the site borders a branch of the Qinhuai River, while the southern side faces an office area renovated from an industrial factory in Guochuang Yuan. The overall strategy aims to activate the site, currently used as a backup parking lot, and to connect it with Plot No. 1 across the river and further into the northern urban area. A public node with three-directional access is proposed to channel pedestrian flow into the site, bridging the north–south and east–west spaces.
A cross-axial network rooted in historical context is overlaid onto the site, shaping its form within the setback boundaries and generating nine interconnected spaces in sequence.