项目业主：殷天霁（厂长）

项目发起人：刘姝瀅

项目相关负责人：范久江、翟文婷（久舍营造工作室）、陈伊甸（陈伊甸平面工作室）、吴旭（山门来吧中轴线数字艺术馆）、王驭峰（南郊陶瓷工作室）、渡边乃月（月乃音日本中国茶教室）

主持建筑师：范久江、翟文婷

参与设计人员：杨溢、李婷、王家桢、王迪、高欢悦

结构顾问：周金将、陆洋

遗产顾问：宿新宝

暖通顾问：韦邵辰

建筑摄影：孙海霆

修缮监理：赵杰

施工现场管理：韩立胜

策展助理：李桐、张旭

可持续助力：KleeKlee

再生瓷砖供应方：郑祎

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Project Owner: Yin Tianji(Factory Manager)

Project Initiator: Liu Shuying

Project Related Person-in-Charge: Fan Jiujiang(Architect), Zhai Wenting(Architect), Chen Yidian(Graphic Designer), Wu Xu(Digital Artist), Wang Yufeng(Ceramist), Watanabe Notsuki

Principal Designers: Fan Jiujiang，Zhai Wenting

Design Team: Yang Yi, Li Ting, Wang Jiazhen, Wang Di, Gao Huanyue

Structural Consultant:  Zhou Jinjiang, Lu Yang

Heritage Consultant: Su Xinbao

HVAC Consultant: Wei Shaochen

Photography Copyright: Sun Haiting

Restoration Supervisor: Zhao Jie

Construction Site Management: Han Lisheng

Curatorial Assistant: Li Tong, Zhang Xu

Sustainability Support: KleeKlee

Recycled Tile Supplier: Zheng Yi

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茶厂的建筑空间，作为工业与建筑遗产，留给我们的一个最为核心且极具当代意义的（建筑）品质，就是物尽其用。 这不是被动接受的将就，而是仔细地对物料与素材进行研判并发现其特质，结合具体使用需求激发物本身的能力极限，最终完成了经济实用的混合建造。对平凡材料的物尽其用，是直面物性的极具创造性的活动，在这里，哲学与工匠相遇了。

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The architectural spaces of the tea factory, as industrial and architectural heritage, bequeath to us a core quality of profound contemporary relevance: the principle of making the most of every material. This is not a passive acceptance of making do, but a careful assessment of materials to discern their unique characteristics, combined with specific usage needs to push each material to its functional limits, ultimately achieving an economical and pragmatic hybrid construction. Making the most of ordinary materials is a profoundly creative activity that confronts materiality head-on; it is where philosophy meets the craftsman.

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例如五十年代末始建的拣场，其南二楼屋架为典型桁架结构。桁架的木杆与钢拉杆交接得利落干净，中心竖杆与下弦横杆之间以铁箍卷覆，用对穿螺栓限位。顶部侧高窗由桁架之上增加的一根斜梁让出空间，结合立面四周高窄窗户，共同为十米多宽的地面洒下均匀天光。而远处端头的两跨，下弦杆呈现弯曲的异形。仔细看，下弦杆是由三根不规整的“杂木”用方木从两侧将首尾夹住栓接组成。在其他榀桁架中出现的竖向钢拉杆，在这两榀中也都变成明显弯曲的木头余料。通过对茶厂图纸档案的爬梳，我们发现这两跨是茶厂厂区范围五十年代末扩大后，在六十年代初的困难时期与拣场北楼的新建同期加建的。可就算难以获得通长的直木，建造者们依然将木料弯曲最强的放置在中心段，并将弯曲处向上垂直隆起，回应了下弦杆在此处的受力需求。

在拣场南楼一层，一种极富想象力的双拼桁架结构实现了同样的跨度。上下弦杆通长木料之间是左右相扣的十字斜腹杆，每两组斜腹杆之间还有上下相对的梯形硬木，并用拉杆对穿锁牢。在创造性地用小料完成大跨同时，呈现了极强的视觉表现力。

又如五十年代建造的职工之家底层柱梁，柱位偏于平面一侧，应是参照木梁的最大尺寸设定了跨度；而另一侧的小跨梁高可降低。因此，砖柱顶部出现了一侧高一侧低的异形混凝土柱头，以适应两种梁高，高低梁头相交处又用钢片夹板对穿栓接。梁上部的楼板木格栅，由于跨度较大，格栅高度略高，便用灵巧的小方木斜撑钉在跨中抗侧。

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Consider, for example, the picking shed, first built in the late 1950s. The roof structure of its south building's second floor features a typical truss system. The connections between the wooden truss members and steel tension rods are clean and precise; the central vertical post and the bottom chord are bound with iron hoops, secured by through bolts. Space for the high side windows at the top is created by an additional sloping beam placed atop the truss. These, together with the tall, narrow windows surrounding the facade, together cast an even, natural light across the floor, which is over ten meters wide.

In the two bays at the far end, however, the bottom chords take on an irregular, curved form. Closer inspection reveals that these bottom chords are composed of three irregular, "found" timber pieces, their ends spliced together and bolted between square timbers on either side. In these two trusses, the vertical steel tension rods present in others have been replaced with distinctly curved wood offcuts.

Through combing the tea factory's archives, we discovered that these two bays were added during the difficult period of the early 1960s, concurrent with the construction of the picking shed's north building, following the factory's expansion in the late 1950s. Even though straight lumber of sufficient length was difficult to obtain, the builders positioned the most severely curved pieces in the central section, with the curve arching vertically upward to respond precisely to the structural demands placed on the bottom chord at that point.

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除了建筑结构层面，在建筑构件、生产机器、操作家具、运输装置等层面，也都呈现出类似的建造观念。

七十年代修建的审评楼悬挑走廊上的栏板，在挑梁对应位置立有现浇构造短柱。浇筑的扶手厚重，一方面方便趴扶，另一方面也构成了短柱间的联系梁。而扶手下方则是预制的水泥镂空栏板单元，既足够结实，又尽可能减少自重，它与扶手以不同颜色的水洗石装饰，并在预制栏板中心创造出植物的主题纹样，充满了韵律和色彩的音乐感。

精制车间中的那些钢木混合生产线，更是这种混合材料建造的经典。需要水平振动的筛机，拥有厚重的前后基座，基座间容纳电机的传送装置，而筛机主体材料用木板，转折连接处有钢折套角。而远处传送装置无需水平振动，因此仅以细钢脚站立，中间漏斗为木板拼接。各种机器的形式即是功能，钢木两种材料都统一在墨绿的表面涂装中，虽然落满茶叶粉末，但在白墙的反衬下，依旧精神十足。

拣场女工用的拣茶桌，每组由独立的面板与两个高凳构成。面板宽730mm，长2010mm，长边坐三人，以圆润倒角的矮格挡分隔，每人占桌宽670mm。桌面漆为红棕色，靠面前有一黑色近半椭圆形区域，方便挑选干茶时作为视觉背景。女工正常坐下后，胳膊自然弯曲正好可放在其中。下方高凳凳腿、横撑多以杂木木棍简单去皮刨光后制作，粗细不均，曲直无序。但凳面总高接近，为上表面平整下表面处理较少的窄厚木板，尺寸多样。

拼配车间里遗留的废弃外贸运输茶箱，是茶厂辉煌时期的重要见证。茶箱多种规格，占比最多的为398mmx398mm，深600mm。立方体箱子的12根龙骨中，两端方形框架为20x20mm的方截面龙骨；4根长向龙骨为40x40mm的直角等边三角形截面龙骨，截面的斜边朝内方便茶叶袋装时顺畅滑入。茶箱主要以框架受力，面板较薄为3mm厚三合板材，价格低廉，表面颜色肌理各有不同。面板转角处有小型金属合页片以枪钉和龙骨固定，这与钢木生产线上的筛机构造原理相似。茶箱内部用牛皮纸包覆防潮，牛皮纸反面为银箔色，敷贴过长时，在口部会呈现出银箔的边缘。

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On the ground floor of the picking shed's south building, an imaginative double-truss structure achieves the same span.

Between the continuous top and bottom chords, diagonal web members are paired in an X-shape, interlocked left and right. Between each pair of X-members, trapezoidal hardwood blocks are positioned top and bottom, secured by threaded tie rods passing through. This creative use of small timber pieces to achieve a large span results in a powerfully expressive visual form.

Another example is the ground floor columns and beams of the Workers' Social Club, built in the 1950s. The columns are positioned off-center in plan, likely setting the span based on the maximum available length of timber beams. This allowed for a reduced beam depth on the shorter adjacent span. Consequently, the column tops feature an unusual, site-cast concrete capital with one side higher than the other to accommodate the two different beam heights. Where the high and low beams meet, they are connected by steel fishplates bolted through. For the wooden floor joists above the beams, the increased span required slightly deeper joists, so clever diagonal timber struts were nailed at mid-span to provide lateral restraint.

Beyond the structural system, this same construction philosophy permeates the architectural details, production machinery, operational furniture, and transport mechanisms.

Take the balustrade on the cantilevered walkway of the Evaluation Building, built in the 1970s. Small, site-cast concrete pilasters rise from the cantilever beams. The cast-in-place handrail is substantial, comfortable for leaning on, and also serves as a connecting beam between the pilasters. Below the handrail are prefabricated concrete screen units with open patterns. They are robust yet lightweight, their self-weight minimized. The handrail and screens are finished with differently colored washed-aggregate coatings, and the central motif of the prefabricated screens features plant-like patterns, imbuing the whole with a musical sense of rhythm and color.

The steel-timber hybrid production lines in the refining workshop are classic examples of this mixed-material construction. The screening machines, requiring horizontal vibration, sit on heavy front and rear bases, which house the motor drive. The main body of the screen is constructed from timber planks, with steel angles reinforcing the corners. In contrast, the conveying equipment further down the line, which doesn't require vibration, stands on slender steel legs, with a sheet metal funnel between them. The form of each machine follows its function; both steel and timber are unified under a coat of dark green paint. Even now, dusted with tea powder, they appear strikingly vivid against the whitewashed walls.

The picking tables used by the women workers consist of individual tops and two stools each. The tabletop, 730mm wide and 2010mm long, accommodates three people per long side, separated by low, rounded dividers, giving each worker a width of 670mm. The table surface is painted reddish-brown, with a semi-elliptical black area in front of each seat, providing a contrasting background for sorting the dry tea leaves. When seated normally, a worker's arms fall naturally within this area. The stools below are often simply made from peeled and roughly planed wooden poles of various thicknesses and curvatures. Despite this, their seat heights are roughly consistent, and the seats themselves are narrow, thick planks with a smooth top surface but a roughly finished underside, varying in dimensions.

The discarded export tea chests left in the blending workshop stand as important witnesses to the factory's heyday. The chests come in various sizes, most commonly 398mm x 398mm x 600mm deep. The cubic form is defined by 12 edge pieces: the square end frames use 20x20mm square-section timber; the four longer edges use 40x40mm timber with a right-angle triangular cross-section, the hypotenuse facing inward to allow sacks of tea to slide in easily. The chests rely primarily on this timber frame for strength, with the panels being thin, inexpensive 3mm plywood, varying in color and grain. Small metal hinges at the corners, fixed with staple guns to the frame, echo the construction principles seen in the screening machines. The interior is lined with kraft paper for moisture protection; the paper has a silver foil backing, its edge sometimes visible at the rim where the lining has folded over.

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不仅如此，连整个厂区的选址与布局，也因地制宜地对自然地形“物尽其用”了。

厂区位于秋浦河入长江的河口高地处，这种选址既方便从秋浦河上游的石台、东至、祁门等地收取毛茶，并通过长江水运将成品经上海运往全球，也尽可能地避免水患。据说在茶厂最高点现在审评楼的位置，之前曾建有一座水神庙，审评楼前至今还躺着巨大的条石构件。

厂区建筑的布局不仅跟随生产工序的逻辑，还充分利用地形的坡势，把老木仓、老茶仓都安排在南侧的坡地上（老茶仓西侧道路，可见明显高差），且在两头开门。坡高一端的仓门低于货车车斗，方便从上往下卸货，而坡低一端的仓门高于道路，方便从仓库内往货车车斗内搬运。这种布局巧妙地把地形不平整的劣势转变为节省搬运工体力的优势。

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Furthermore, even the siting and layout of the entire factory complex exemplify making the most of the natural topography.

Located on high ground near the confluence of the Qiupu River and the Yangtze, the site was chosen to facilitate both the receipt of raw tea from upstream counties via the Qiupu, and the shipment of finished products to Shanghai and the world via the Yangtze, while also minimizing flood risk. Legend has it that a temple to the Water God once stood on the highest point of the factory grounds, where the Evaluation Building now sits; massive stone blocks still lie in front of it.

The layout of the factory buildings not only follows the logic of the production process but also makes clever use of the sloping terrain. The old timber warehouse and old tea warehouse are situated on the south-facing slope, with a clear difference in elevation. They have doors at both ends. The upper-level door aligns with the bed of delivery trucks, facilitating unloading, while the lower-level door, raised above the road below, makes it easier to load goods onto trucks from inside. This arrangement ingeniously transforms a topographical challenge into an advantage, reducing the physical effort required for transport.

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如上种种，在茶厂内几乎随处可见。也正因为以这种“物尽其用”的观念隐匿在整个茶厂建筑/建造的背后，我们才能被吸引，持久地去“看” 。

发现了这些隐匿的价值，在之后的修缮、改造、展陈、装置设计中，我们便获得了一种重要的价值立场与方法——修缮即展陈。修缮将各种时间的痕迹变为展品，生产空间、结构、机器、器物都成为了展品的一部分，修缮本身的识别性更是重要的展示对象，局部有时要凸显为物体，有时又退为背景。强化修缮的痕迹，就会让时间在这里将变得饱满，不再被压扁为事件发生的背景。

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Examples like these are almost ubiquitous throughout the tea factory. It is precisely because this principle of "making the most of everything" subtly underlies the entire construction of the factory that we find ourselves so persistently drawn to observe it.

Having uncovered these hidden values, we have gained a crucial standpoint and methodology for subsequent restoration, renovation, exhibition, and installation design: restoration as exhibition. Restoration transforms the traces of time into exhibits. Production spaces, structures, machinery, and artifacts all become part of the exhibition. The legibility of the restoration itself becomes a key exhibit; elements sometimes become focal points, at other times recede into the background. By emphasizing the traces of restoration, time becomes palpable here, no longer flattened into a mere backdrop for events.​​​​​

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